cecimoss + publicart   15

Frieze Magazine | Archive | The Long Nineties
Mocked and ridiculed, the 1980s met a pitiful end at the hands of a generation of artists who considered a market-friendly, object-based art their ideological nemesis, and punished it summarily for its false richness.

This is an exaggeration, of course, but ask around in my (Northern European) corner of the world, and I would guess that many of those who were working back then will confirm this picture of a generational showdown. By contrast, faded and forgotten as they may be, ‘the long nineties’ remain unsubverted. The symbolic revival of Félix Gonzáles-Torres at the 2011 Istanbul Biennial, for instance, echoed his status as a guiding star of curating and art theory of that decade.

However, during the last five years, as the historicization of the ’90s gains momentum, the jury has gradually reconvened. The case being weighed is that of art’s relationship to the social. In 2007, Ina Blom published On the Style Site: Art, Sociality and Media Culture, examining the practices of many of the prominent artists of the ’90s and after; a 2010 symposium at Tate Britain was entitled ‘Art and the Social: Exhibitions of Contemporary Art in the 1990s’; and Claire Bishop’s Artificial Hells: Participatory Art and the Politics of Spectatorship will be published by Verso in 2012. The art-historical claim of the latter is that the ‘social turn’ should be ‘positioned more accurately as a return to the social, part of an ongoing history of attempts to rethink art collectively’. I will proceed more sceptically – or counter-socially – by revisiting the ’90s through the social as a problematic not only for art, but also in relation to the ‘governmentality’ of our time – Michel Foucault’s term for the economics and relations of power that shape a society as a field of possible action.
1990s  90s  art  criticism  frieze  relationalaesthetics  public  publicart  theory 
february 2012 by cecimoss
SEEN - Fruits of our labor (2006) Osman Khan and Omar Khan
SEEN was placed in front of the San Jose Museum of Art facing Cesar Chavez Park (Aug7-14 2006). Standing at 8' tall and 4' wide the black acrylic screen's projection is invisible to the naked eye. However electronic CCD apparatus are able to capture this spectrum, thereby allowing the projection to be seen and captured by digital cameras, video cameras, phone cams, and the like. It is only through the digital apparatus that the messages can be read. The audience is encouraged to photograph and share these messages: the fruits of other's labors. What was previously hidden from your view is revealed through the technical device. You become complicit in the most personal way to this exchange.
visuality  mediaart  LED  social  installation  newmedia  interactive  technology  publicart 
september 2008 by cecimoss
Park 4DTV
or over 20 years now PARK4DTV used the available electronic media to create ‘Pure Image and Sound’. In the early days as an illegal pirate-station, later on making use of local cable Networks in Amsterdam (where over 12 1/2 years we distributed a dail
publicart  publicspace  media  electronic  video  videoart 
july 2008 by cecimoss
Liliane Lijn
work in a broad range of materials and media, making extensive use of new technologies to create works that view the world as energy. A constant dialogue between opposites, my sculptures use light and motion to transform themselves from solid to void, opa
light  artist  portfolio  publicart  sculpture 
july 2008 by cecimoss
Nest Rotterdam
artist built a nest on the side of an office building in rotterdam?
artproject  artist  conceptual  installation  publicart 
may 2008 by cecimoss
public art initiative in los angeles, curated by emi fontana of galleria emi fontana in milan
exhibition  publicart  publicspace  artist  artproject 
march 2008 by cecimoss

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