The Fuzzy Line between Art and Life: Artistic Interferences in the Construction of Reality

By Ana María Garzón Mantilla

Artwork can reframe, transform, reenact or reconstruct fact. utilizing artwork initiatives which are
intervening in present social realities, this thesis strives to research how artwork can intrude
in the development of fact. The artwork works selected are a variety of studies that move
from participatory environments to video installations. Francis Alÿs, Jeremy Deller,
Omer quickly, Thomas Hirschhorn, Pierre Huyghe, Vik Muniz, Walid Raad and Santiago
Sierra are utilizing assets that come from the commercial and political method, interventions
in the standard and current historic evidence. The works of art are wondering the codes of
representation, the relation with the opposite, the development of reminiscence and the authority
of background. there's a everlasting rigidity among the creative representations and truth
itself; that's to assert, an enduring clash among the fiction and the true. This thesis
examines practices which are addressing social and ancient stipulations, with the intention to
compare thoughts and conflictive events that seem within the versions utilized by the artists.

Show description

Quick preview of The Fuzzy Line between Art and Life: Artistic Interferences in the Construction of Reality PDF

Show sample text content

Three. Francis Alÿs, Bridge, Key West-USA and Santa Fé-Cuba, 2006. reveal captions from the general public area video clips published at www. francisalys. com Fig. four. Vik Muniz, Narcissus after Caravaggio (2005-6). Chromogenic Print. Exhibited at Sikkema Jenkins & Co. , Fall 2006. photograph: Larry Qualls. ARTstor assortment: modern artwork (Larry Qualls Archive). Fig. five. Vik Muniz, Prometheus after Titian, (2005-6), Chromogenic Print. Exhibited at Sikkema Jenkins & Co. , Fall 2006. picture: Larry Qualls. ARTstor assortment: modern paintings (Larry Qualls Archive).

Then, within the Sixties, Situationist overseas and their interventions within the urban, seemed as a reaction to the newly born society of spectacle. With the increase of functionality the physique grew to become the cloth of production because it is very unlikely to split artwork from political and social affairs, the Nineteen Nineties are a decade of re-thinking heritage after the top of the chilly warfare. The artists from the Nineteen Nineties inherited a feeling of concern and rot, and paintings had to reconstruct its constructions in a situation that Yve-Alan Bois summarized as surrounded through the “death of ideologies (Lyotard), of commercial society (Bell), of the genuine (Baudrillard); of authorship (Barthes); of guy (Foucault); of historical past (Kojéve) and, in fact, of modernism (all people after we use the note postmodern).

Omer quick: In reminiscence, edited by way of Sabine Schaschl. Berlin: The Greenbox, 2010. Catalog of the exhibition Omer speedy, held on the Kunsthaus, Baselland (January 15 – March 22, 2009) and on the Kunstverein, Hannover (November 22, 2008 - January 18, 2009). Omer speedy: The Casting, edited by way of Matthias Michalka. Cologne: Verlag der Buchhandlung Walter König, 2007. released along side the exhibition Omer speedy: The Casting at Museum Moderner Kunst Stiftung Ludwig Wien (October five, 2007January 20, 2008). Raad, Walid and The Atlas team, “Let’s be sincere, the Rain Helped” (2003), within the Archive, edited by way of Charles Merewether.

Corridor, Stuart, “Jeremy Deller’s Political Imaginary”. In Jeremy Deller: pleasure in humans. London: Hayward Publishing, 2012. Hirschhorn, Thomas, Benjamin Buchloh, Carlos Basualdo and Alison M. Gingeras, Thomas Hirschhorn. London: Phaidon, 2004. Jameson, Fredric, “Postmodernism and buyer Society”, within the Anti-Aesthetic. Essays on Postmodern tradition, edited by means of Hal Foster. Seattle: Bay Press, 1983. This essay used to be initially a lecture at Whitney Museum, 1982. Jeremy Deller: pleasure in humans. by way of Jeremy Deller, Stuart corridor, Ralph Rugoff and Rob.

Derrida, Jacques and Prenowits, Eric, “Archive Fever: A Freudian Impression”. In Diacritics, Vol. 25. Maryland: The Johns Hopkins collage Press, 1995. http://www. jstor. org/stable/465144. Accessed: 02/07/2012 Doherty, Claire, editor, scenario. Cambridge: The MIT Press; London: Whitechapel, 2009. Enwezor, Okwui, Archive Fever – makes use of of the record in modern artwork. long island: Steidl – ICP, 2008. released together with the exhibition Archive Fever: makes use of of the record in modern paintings, held on the overseas middle of images, ny (January 18 – might four, 2008).

Download PDF sample

Rated 4.89 of 5 – based on 27 votes