the division between the modern and contemporary, the arrivals of the moderns, wreckages The art as an inhuman as tool, exhibition as tool to enter the world— the critique of the utilitarianism of the tool Arteast Collection 2000+, Innsbruck collecting the global as universal hubris
intimacies between peripheries
The conditions of stability for cultural work, research/theoretical/articulate the priorities and urgencies of local community
Collaboration not to become the same art magazine networks INFRASTRUCTURE... there is no autonomy there is no money what imaginaries does the global feed? alternative channels of knowledge distribution Chen Kwan Hsing, Asia As Method
a connective tissue
the port city is the universe in itself
the negativity attached to the foreigner - nostalgia for tradition attached to Chen
lingua musica
does not belong to everyone but belongs to everyone cultural resources of the past: remaking the past nostalgia for localism/feudalism/folk the problems pace Jameson: postmodernist inability to periodise, lacking in temporal coordinates, nostalgia
the white cube comes from the church crypt contemporary art and processes of alienation publics vs audiences, politics vs political
the rehabilitation of Nixon the references of Duterte against global imperialism comes from the peripheries, not Manila— Anti-American performance A sensorium of terror from 5 centuries before till today narco-capitalism It arms the drugs wars of other countries and pays political corruptions in third world countries
Benedict Anderson reduces 20th century Philippines to the cacique democracy The Islamic South that held its ground against Imperialism and
Alfonso Ossorio— Angry Christ disfiguration of catholic the art history of political theology -- the anthropology of secular politics- secularized theological concepts - Karl Schmidt
the catholic baroque secular divination every act of disfiguration is always an act of creative destruction biopicture— a clone the catholic imagery has a cognitive the metonymic potential of iconography- the sacrificial, the heroic to the collateral, the casualty — collateral, alongside with the dead iconography as circuit Phillipines as an extensive locality with its density and thickness, and sometimes the global can be very thinArt is not the foundational moment of creative practice—the image can slip through all the demands of autonomy and self-consciousness quite nimbly animism and cloning the image, rather than art
belonging than idpo the question of futures is a question about stakes the dialectics of propaganda, what looks like propaganda from the outside the inseparable communicative aspect of the image, if not art
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Time for the Thin Boi Asks
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