Museum/Museum: notes toward an A-Z (work in progress).
"The curator should be like a dervish who circles around the artworks. There has to be complete certainty on the part of the dancer for it all to begin, but once the dance has started it has nothing to do with power or control. To a certain degree it is a question of learning to be vulnerable, of remaining open to the vision of the artist. I also like the idea of the curator or critic as a supplicant. It's about forgetting everything you think that you know, and even allowing yourself to get lost."
"Translation is thus one of the most important variants of the new archipelagic thought. The art of jumping from one language to the other, whereby the first is not extinguished and the second does not insist on its disappearance. And it is also an art of leaping because today every translation accompanies that skein of all possible translations of each language into any other."
"Power is no longer concentrated in one point in the world; it is the world itself, its flows and its avenues, its people and its norms, its codes and its technologies. Power is the organization of the metropolis itself. It is the impeccable totality of the world of the commodity at each of its points. Anyone who defeats it locally sends a planetary shock wave through its networks." --The Invisible Committee, The Coming Insurrection
"They amount to spasmodic events that are rather different from what passes as visual art in the museum-gallery system. Are such practices more like research machines through which social, political, visual, statistical, epidemiological data are telescoped? These are visual-intellectual evolutions that cannot be reduced to constructions of the art system. What we call art activity is expanding, extending, transmogrifying in the global contemporary setting. Hence also my dogged interest in Duchamp's question 'How to make a work of art that isn't a work of Art?' For me, it's a marker for ways we might be able to engage with works, events, spasms, ructions that don't look like art and don't count as art, but are somehow electric, energy nodes, attractors, transmitters, conductors of new thinking, new subjectivity and action that visual artwork in the traditional sense is not able to articulate."
"New concepts for concert, theater and exhibition buildings; but first of all pleasure houses for meditation, dance, fun, games and sexual relations (cf. the 'psychedelic discotheque' on the West Coast, and the multiscreen discotheques of Gerd Stern and Andy Warhol). Utilize teleprinter, closed-circuit TV, computers, etc., to arrange contacts, sexual and other. Incite to creative living, but also approve 'passive' pleasures by means of new drugs--good drugs, strong and harmless, instead of perpetuating the use of our clumsy, inherited drugs, liquors, stimulants. Refine the activating (consciousness-expanding) new drugs. And develop euthanasia drugs to make dying easy, fast and irrevocable for terminal cases and prospective suicides."
"And it is also an emptiness of language which constitutes writing; it is from this emptiness that derive the features with which Zen, in the exemption from all meaning, writes gardens, gestures, houses, flower arrangements, faces, violence."
"We inserted narrow, glazed spaces between the existing buildings. We eventually covered all the existing warehouses with glass as well. These glass boxes and glass walls surround the old warehouses, but people can see between them. People within the glazed spaces have the feeling that the storage spaces arc somehow outside the museum, but people in the storage spaces feel that the glazed spaces arc outside the museum."
"Each piece had to fit into a manila envelope."
--Lucy R. Lippard
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|Author:||Birnbaum, Daniel; Obrist, Hans Ulrich|
|Date:||Jun 22, 2010|
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