Wednesday, December 14, 2011

White elephant art vs. termite art

The most inclusive description of the art is, that, termite-like, it feels its way through walls of particularization, with no sign that the artist has any object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement.

Manny Farber (1962)

Tuesday, December 13, 2011

The Inheritance III

The Inheritance III by Bandung-based artist R.E.Hartanto - better known as Tanto - for an exhibition in Singapore (see here for a review).

Thursday, December 8, 2011

the future of science is art

Randy Jarell: "It is the contradictions in works of art which make them to represent us - as logical and methodical generalizations cannot - our world and our selves, which are so full of contradictions."

symbolic capital

Hans Haacke (German-American artist): "Contrary to Kant's dictum of ‘disinterested pleasure’, the arts are not ideologically neutral. They are, in fact, one of the many arenas where conflicting ideas about who we are, and what our social relations should be, are pitted against each other. Encoded in cultural productions are interests, beliefs, and goals. And, in turn, they affect what is at stake for us, what we believe, and what we strive for."

relevance of conceptual art

Boris Groys: “Conceptual artists shifted the emphasis of artmaking away from static, individual objects toward the presentation of new relationships in space and time. These relationships could be purely spatial, but also logical and political. They could be relationships among things, texts, and photo-documents, but could also involve performances, happenings, films, and videos—all of which were shown inside the same installation space. In other words, conceptual art can be characterized as installation art—as a shift from the exhibition space presenting individual, disconnected objects to a holistic exhibition space in which the relations between objects are the basis of the artwork.” And “conceptual art taught us to see form as a poetic instrument of communication rather than an object of contemplation.”

producing/presenting art

Boris Groys: “Today, there is no longer any ‘ontological’ difference between making art and displaying art. In the context of contemporary art, to make art is to show things as art. So the question arises: is it possible, and, if so, how is it possible to differentiate between the role of the artist and that of the curator when there is no difference between art’s production and exhibition? Now, I would argue that this distinction is still possible.” And: “The installation transforms the empty, neutral, public space into an individual artwork—and it invites the visitor to experience this space as the holistic, totalizing space of an artwork. Anything included in such a space becomes a part of the artwork simply because it is placed inside this space.” And: “artistic installation [is] the act of art production [which] coincides with the act of its presentation”

curator as author?

Hans Ulrich Obrist: "I don't believe that the curator is an artist. I was very inspired by Harald Szeemann, who is obviously one of my great heroes. Harald had a signature, and things had to function within the signature of his exhibitions. He is the auteur, but that has never been my way to work. Everything in my shows is done by an artist. The more I can disappear, the less my signature is there, the better it is. Douglas Gordon will find the title, an artist will design the catalogue, Richard Hamilton will do the poster. If it is a performance, it's a performance that has always to do with someone else, or for someone else."

Monday, December 5, 2011

Seminar: Funding strategies in managing art and cultural organizations

Towards Financial Sustainability
Funding strategies in managing art and cultural organizations
Organized by Roma Arts
in collaboration with Selasar Sunaryo Art Space
Purpose: The aim of this seminar is to exchange ideas on how to make art and cultural organizations financially sustainable. Through presentations and discussion we can learn from each other’s successes and failures in managing art and cultural organizations, which could lead to structural improvements that, in turn, could make art and cultural organizations self-sustainable in the future.
Key questions:
1. What aspects of an organizational strategy and plan should be in place before developing a funding strategy?
2. What does it actually mean to develop and have a funding strategy? For example, how to apply for grants? What are the (likely) administrative and managerial implications when grants are received?
3. What are the different ways to become financially sustainable? For example, grants from donors (foreign as well as domestic), sponsorships, merchandising, membership, sales, government subsidies (monetary as well as in kind, for example wavering of rental fee or volunteers)
John McGlynn – Lontar Foundation (founder and Chairman of the Board of Trustees);
Topic: ABCs on Sustainability (for non profit organization in Indonesia)
Audrey Wong – The Substation, Lasalle College of the Arts, Singapore; and
Gustaff H. Iskandar – Common Room Networks Foundation (founder and Director);
Moderated by Roy Voragen
When: December 10, 2011
Selasar Sunaryo Art Space
Bale Handap
Bukit Pakar Timur No.100, Bandung
Materials on funding strategies can be downloaded here.
Roma Arts is a think tank that promotes passionate, ambitious and focused ways of producing, presenting and experiencing the diverse forms of arts from Indonesia. We give keen attention to art practices, forms of presentation and experiencing the arts through various means: for example, workshops, discussions and research on such topics as art practices, management, presentation, art criticism, funding, education, audience engagement, and etcetera, which will result in publications and exhibitions. Roma Arts intersects with the many already existing art institutions: (semi-)state-run institutions, commercial galleries, private museums, artist initiative spaces, and etcetera. We are ready to engage with the members of these organizations as intermediaries to promote fertile interaction between these spaces and their audiences.
Selasar Sunaryo Art Space (SSAS) aims to support and contribute to the development of arts and culture in Indonesia. SSAS delivers a diverse and accessible program for the enjoyment of locals and visitors, and contributes locally and nationally to a living culture in Indonesia. The focus of the program is contemporary art, as well as visual culture more broadly: design, craft, film/video, photography and architecture. Aside from presenting regular exhibitions of the permanent collection, SSAS holds solo or group exhibitions by emerging and established artists; workshops and discussions; artist residencies; a children's program; performing arts programs such as concerts and theatre, and other activities selected by the Curatorial Board. SSAS initiates opportunities for national and international cooperation and networking with artists, curators, critics, researchers, conservators and all of those who are interested in public education through arts and cultural activities.