The Fuzzy Line between Art and Life: Artistic Interferences in the Construction of Reality

The Fuzzy Line between Art and Life: Artistic Interferences in the Construction of Reality

Ana María Garzón Mantilla

Language: English

Pages: 76

ISBN: 2:00179023

Format: PDF / Kindle (mobi) / ePub


Art can reframe, remodel, reenact or reconstruct reality. Using art projects that are
intervening in existing social realities, this thesis strives to analyze how art can interfere
in the construction of reality. The art works chosen are a range of experiences that go
from participatory environments to video installations. Francis Alÿs, Jeremy Deller,
Omer Fast, Thomas Hirschhorn, Pierre Huyghe, Vik Muniz, Walid Raad and Santiago
Sierra are using sources that come from the economic and political system, interventions
in the everyday and existing historical facts. The artworks are questioning the codes of
representation, the relation with the other, the construction of memory and the authority
of history. There is a permanent tension between the artistic representations and reality
itself; which is to say, a permanent conflict between the fiction and the real. This thesis
examines practices that are addressing social and historical conditions, in order to
compare strategies and conflictive situations that appear in the models used by the artists.

Marxist Aesthetics: The foundations within everyday life for an emancipated consciousness (Routledge Revivals)

Aesthetics and Modernity from Schiller to the Frankfurt School

The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics

Philosophy of the Film: Epistemology, Ontology, Aesthetics

 

 

 

 

 

 

 

 

 

 

 

mediation, are always something that interrupt the synchronic development of the everyday, but in Hirschhorn, the monument was an excuse for altering the quotidian without mediation: the participants confront each other face to face. In previous paragraphs it is explained that the beholder can confront the pieces, but at the same time it is interesting to think how these subjects agree to participate and open their lives to be viewed by others. This is a trend started with Facebook, Twitter, My

to restage a strike, Walid Raad (Lebanon, 1967) is working in a much more complex fashion by using the codes of the archive to create historical fiction. Okwui Enwezor, in Archive Fever, writes the “the archive achieves its authority and quality of veracity, its evidentiary function, and interpretive power –in short, its reality- 48 Ralph Rugoff, “Middle Class Hero”, page 17 35 through a series of designs that unite structure and function.”49 The archive is a source of knowledge and a method

for gathering information that is recognized by museums and academy. The archives are reliable, but are also unstable and sometimes infinite, because it is possible to keep adding documents and opening new categories. As Michel Foucault stated in The Archeology of Knowledge, “The archive of a society, a culture, or a civilization cannot be described exhaustively: or even, no doubt, the archive of a whole period. On the other hand, it is not possible for us to describe our own archive, since it is

the Real. Cambridge: The MIT Press, 1996. Hardt, Michael and Negri, Antoni, Empire. Cambridge: Harvard University Press, 2000. Foucault, Michel, The Archeology of Knowledge; and, The Discourse on Language. New York: Pantheon, 1972. Francis Alÿs: A Story of Deception, Eduardo Abaroa, Klaus Biesenbach, Mark Godfrey and Francis Alÿs. New York: MoMA, 2010. Published in conjunction with the exhibition of the same name, at the Museum of Modern Art, New York (May 8–August 1, 2011). 66 Francis Alÿs:

Sierra requires of his collaborators—which are invariably useless, physically demanding, and on occasion leave permanent scars—are seen as amplifications of the status quo in order to expose its ready abuse of those who will do even the most humiliating or pointless job in return for money.”14 Reality is violent and Sierra is not even attempting to deviate the viewer´s attention into a fictional fantasy. There is a deep nihilistic sense in Sierra’s work, that can be explained with Critchley’s

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