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2011_ ART AND TRANSMISSION by Michael Sanchez - artforum.com _ in print
The dramatical change has occurred throughout the Art world. The change of the maker(artist), the distribution(dealer,curator), venue(gallery) and also the customers(viewers). It’s because of the innovation, called the iPhone.
“The function of the biennial format has clearly become more mnemonic than predictive, more a retrospective than a preview. Art is no longer discovered in biennale and fairs and magazines but on the phone. as the Whitney Biennial demonstrated in 2012.
Since now it is so normal to receive art through the screens of the phone, there are trends in the makings in the art that fulfills this contemporary conditions. In painting the unsaturated pastels, off-whites, and especially grays started to impact the scene. They are called as “anti-gestural” or “Subtractive”. In sculpture, the surrealist object has returned. Juxtapositions are made in hues and adopts light from neon. This is called as “Post Net” art or “meme art”.
Our present, specific media condition. evokes a visual trend that is artworks that are purposely made to be catching on the screen.
Since the dealers or curators and moreover the viewers are now using this specific media, the works functions as a kind of meta site-specific idea. That considers the screen itself as a metaspace.
Since the phone is the new technology that again, brings the exhibition value.
And moreover, now there are fainted boundaries among the environment of the art world.
Because they are sharing the same element to visualize and perceive art. which is the phone.
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In defense of the poor image- Hito Steyerl
Cinema, which once was a spearhead of liberating art from the secured world called Aura, is now itself became a sanctum.
By taking the upper-class position of the Image hierarchy. Cinema now became a paradox, returning the exhibition value to cult value by the notion of Qualitative image.
Neoliberal restructuring of media production, non-commercial imagery became
invisible. These banned images which once enjoyed the comfortable secure area in the land of art fell down to the lowest class.
Masterpieces of the certain era that once assassinated by the new image order, Revied in the world of internet by the name of the poor image.
These stacked(Youtube), curated(UBU) or Traded(Torrent) poor images started to travel the world, functioning as an antithesis of restructured imagery, re-transiting cult value to exhibition value.
These poor images constructs global networks, provokes translation and mistranslation from its original purpose. This allows new publics and debates.
This circulation of the poor image creates a “visual bond” says Dziga Vertov which links the workers from the world out of the prevailing territory of entertain.
This approach is a communist visual language.
By losing its visual substance it creates a new aura around it.The aura here is not about the ‘Original’, It is about its own real conditions of existence.
Swarm circulation, digital dispersion, fractured and flexible temporalities.
It is about defiance and appropriation just as it is about conformism and exploitation. The Aura is the present reality.
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Assignment1
"The Work of Art in the Age of its Mechanical Reproducibility" - Walter Benjamin [2562240, JUNG]
The Age of Mechanical Reproducibility changed the terrain of art, and by using the concept ‘The Death of Aura’, Benjamin addresses that Art has changed its condition from Cult value to Exhibition value.
This means, by using the Mechanical benefits, Art came out of its obscured world and arrived at the masses.
Benjamin refers Film as the representative medium which that shows this huge shift of art. This is, on one level, a liberalization of art which art now became a thing for everyone not just for the small elite groups.
But Benjamin pusses his argument forward by seeing the duality of this crustal change. He sees that the new condition is also problematic.
By the political point of view, He views that the Mass media, Film can be used to seize one's power and moreover the screens can become a new sanctum which shows the new idol for the mass to worship.
The indiscreet attitude of proceeding art from the public gives the effort to the ones who generate ideology and inject them to the screens.
This means the public is in a Vulnerable position, Being affected consciously and unconsciously.
This is why Brecht tried to inject the idea of Alienation Effect into his play to resist against the threads of the controller and tried to illuminate the indiscreet, naive public.
Now seeing 2017, I think SNS will be the new form of Mechanical Reproducibility. Everything Benjamin addressed in his essay is still the fact. And the only difference is the change of film to social media.
Social media now is the materialistic device which affects us more critically ever.
Therefore, I think that, like Brecht, we have to generate an anti-thesis, the Alienation Effect, to warn and suggest a critical perspective for the public to resist their naive attitude on Social media.
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