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I think what's been happening recently is that what you witness in the exhibition space is not necessarly a moment of completion, only a moment of exhibition. The production moment is often variable. You can be looking at a pre-production moment, a post-production moment, or a combination of those things.
(Liam Gillick, independant spaces, AICAA & JRP édition, Geneva, 1999)
The music is outside / It's happening outside / It's happening now / not tomorrow
(David Bowie, Outside, Outside, 2002)
Man muss sich mal vor Augen führen, wie es gekommen wäre, wenn Zwinglis Vision von einem eidgenössischen Grosstoggenburg hätte durchsetzen können.
Das Toggenburg wäre in den Zweifelhaften Genuss gekommen, für das Ursprungsland der neuen, arabisch-reformierten Eidgenossenschaft gehalten zu werden, im Toggenburg hätte nach einer Art Tell und einer Art helvetia gesucht werden müssen, die man nach umständlicher Suche in den Personen der Zöllner Watto und seiner Frau, der Wettermacherin Ana, auch gefunden hätte. Zwar hatte Watto keine Habsburger aufgespiesst, so mit kühnen Sperrstoss doch immerhin, die Geister geschieden, anstelle von Tell könnte man ihn, anstelle von Muttern Helvetia die Wettermacherin Ana aufgesockelt sehen. Ihr zu Füssen läge eine Männerwelt, lärmige Brüder, ewige Söhne, und überhaupt hätte man mir viel einberufen können, man muss sich das alles doch einmal vor Augen führen, Melch.
(Peter Weber, Der Wettermacher, DAS MAGAZIN - Schweizer Bibliothek, p.228-229, ISBN 3-905753-09-X)
The notion that group identities are fundamentally pathological acts to disqualify any work on culture as a symbolic space for the development of solidarities.
The promise of technological emancipation seemed to be shattered: "We were beaten, surpassed, defeated in our imagination," he wrote.
Art in the urban frame appears not as an upper-class luxury, not as a spinoff of advertising or as an academic canon propagated by the state, but as a vital tool for particular, culture-specific processes of self-construction and social communication – a vital tool for pleasure but also for survival. And this vitality, this urgency, promises not only a new public, a truly transnational public which is also the multi-ethnic public of the new world cities; it also promises a renewed political role for art.
The urban frame cannot fill the institutional void; but it accomplishes two things for the public. First, it identifies the effectively globalized realm of the contemporary city as the common background against which each specific work of art can appear as an ideal or an impossibility, a utopia or a denunciation. And second, it lucidly stresses the fact that the power of each member of the viewing public derives from combinations of the two essential poles of exchange value and use value: that is, either the transnational circulation of industrial and above all finance capital, or the stabilization of available resources in more-or-less enduring social structures. The urban frame reveals that the old ideal of a purely individual judgment – favored by the white cube no less than the voting booth – is now an illusion.
(Brian Holmes, Cities, Spirals, Exhibitions, Artworks in an Urban Frame,
http://ut.yt.t0.or.at/site/index.php?option=com_content&task=view&id=86&Itemid=110∞∞; , 1999)
On pourrait par ailleurs faire l’hypothèse selon laquelle, si différence il y a, c’est bien dans la volonté étatique sensiblement plus centralisatrice en Europe de canaliser ces forces, en corrélation avec une philosophie d’aménagement et une culture de paysage affirmées. Cette différence politico-culturelle a certainement des conséquences multiples que les « régionalismes critiques » ont révélées, mais il n’en reste pas moins des axes de recherche à explorer, en confrontant spécificités locales et problématiques territoriales. Rechercher signifierait ici formuler des hypothèses sur le statut de ces espaces, tester leur pertinence par un croisement des données (historiques, géographiques, économiques , sociologiques, politiques) ; et, surtout, projeter pour se confronter à cet ultime postulat selon lequel ces nouveaux lieux de vie urbaine sont en défaut de qualités spatiales...
Recherchons ce que peut signifier « le projet urbain » dans ces conditions-là... Activité difficile, voire piégée, en ce sens qu’il ne s’agirait nullement d’une simple expertise relevant d’un savoir, mais à la fois d’un questionnement et d’une expérimentation, à travers les méandres du projet, des diverses postures de réplication et de rénovation marquées de leur évidente historicité.
(La ville-territoire par Cyrille Faivre-Aublin, Panos Mantzaras, Steven Melemis, mise en ligne le samedi 8 novembre 2003
Texte publié dans le Journal de l’Archipel des Revues (novembre 2003),
http://multitudes.samizdat.net/La-ville-territoire.html∞∞; )
A space is public when it either maintains the public order, or changes the public order.
(Vito Acconci, Public Space in a private Time, talk held at the symposium Other places. Public spaces and Art, Kunstmuseum Thurgau, 1998 &
http://www.kunstmuseum.ch/andereorte/texte/vacconci/vapubl_e.htm∞∞; )
"The activist is not someone who becomes the brains of the movement, who sums up its force, anticipates its choices, draws his or her legitimacy from a capacity to read and interepret the evolution of power, but instead, the activist is simply someone who introduces a discontinuity in what exists. She creates a bifurcation in the flow of words, of desires, of images, to put them at the service of the multiplicity’s power of articulation ; she links the singular situations together, without placing herself at a superior and totalizing point of view. She is an experimenter."
(Maurizio Lazzarato quoted by Brian Holmes in his article Network, swarm, microstructure, may 2006,
http://multitudes.samizdat.net/Network-swarm-microstructure.html∞∞; )
If we're telling stories where the politics are worked out "in advance," where the political effectiveness of our gestures is somehow guaranteed, I think we're in a space which is unable to grow its imagination, and such a space will ultimately be hostile to the creation of art.
(Danny Butt of New Zealand from a post on the Empyre list quoted by Christiane Robbins in Assessing ISEA 2006 on stretcher.com)
Affect names the becomings of life; the latter’s intensive quality – the risings and fallings – the movement from one state of being to another (simply, becomings). For Deleuze’s Spinoza (Practical Philosophy, ‘Three Ethics’…), ethics would be the organization of ones life so as to increase specifically joyful affects – those that increase our capacity to act in the world. Here ethics involves the production of joyful encounters (for example with two or more individuals coming together that essentially ‘agree’). Our encounter with art has the capacity to produce these kinds of joyful becomings (and of course this is also the case with collaborative, or what has become known as relational practices). We might say then that art practice involves the production of specifically joyful affects as oppose to sad affects, that fear and paranoia produced by our encounter with more typical affective assemblages (I’m thinking here of the mass media). Sad affects of course specifically decrease our capacity to act in the world.
(Simon O' Sullivan, From Aesthetics to Probeheads: Deleuze, Guattari, and Contemporary Art, lecture at the academy of fine arts, Vienna, 2006)
L'aptitude particulière d'une ville à fournir indéfiniment, souplement,
à l'imagination sollicitée par la poésie,
des repères, des modèles et des chemins,
à donner sur les visions les plus insolites presque naturellement,
et sans avoir à être contrainte d'aucune manière.
(Julien Gracq, la forme d'une ville, José Corti, Paris, 1985)
Et que, si la diversité inouïe des peuples et des cultures se présente d'abord comme une souffrance, il dépend de nous et de tous que cette souffrance ou bien tourne à la suffocation, ou s'épanouisse au contraire en un souffle libéré. Il dépend de nous veut dire ici si nous pouvons élargir nos imaginaires.
(Edouard Glissant, La cohée du Lamentin, p. 17, Gallimard, Paris, 2005)
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