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ART-e-FACT, STRATEGIES OF RESISTANCE issue01: ILLEGAL IMMIGRATION issue02: UTOPIA [you are here] issue03: TECHNOMYTHOLOGIES issue04: GLOCALOGUE
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TRANSMEDIALE: FLY UTOPIA!
A conference, exhibition and workspace opens January 31st in Berlin.


TRAVELOG

The City in the Age of Touristic Reproduction
Boris Groys
The tourist and the city dweller become identical.

Can the art world really do Hollywood better than Hollywood?
Steven Rand
The hypnotism
of technology: where is the end?

Mobile Utopia
Charles Esche
A utopian day-trip through two views of humanity 400 years apart.

FEATURE AND WRITINGS
LOOKING FOR A HUSBAND WITH AN EU PASSPORT BY TANJA OSTOJIC
ONLINE
Light Type Writer
Constantin Luser


THEORY

Utopia with Lara Croft and some other monsters and Aliens
Marina Gržinić
The re-direction of desires, facts & bodies in the global world.

THE EMPIRE AND ITS UTOPIAS
Žarko Paić
How to envision utopia, and not run away from society’s real repression / depression into a ghetto or exile for fantastic outsiders?


ZERZAN VON TARZAN UND TAXIS - FASCISM OF DESIRE OR FASCISM OF OBJECTS
Zoran Roško
The rejection of human will, civilisation, & the search for what we have left.




WRITINGS
STATEMENT
The young family
Patricia Piccinini
Australian Pavilion,
Venice Biennale, 2003


Can the art world really do Hollywood better than Hollywood?

At the risk of alienating a few people, I would like to state for the record that the art world is in crisis. Okay, so I am not the first to say it. It has been the case for sometime. It may have started in the performance era, say late 60's. Instead of experimental theater, performance events allowed you to do one performance for a concentrated group in a museum, alternative space or gallery. People came precisely because it was somewhat incongruous, it was a once only event and because folks like Chris Burden and Vito Acconci always created the possibility of seeing an accident or a spectacle. It was sort of like a hockey game or a car race. But, art world elevated. Like the validation that allows some normally tight assed couple in the art world to go to a Vanessa Beecroft or Robert Mapplethorpe exhibition and discuss the significance of the negative space between the bodies or the sensuous curve of a body against the architecture. What architecture? In the US especially, we have to lie to others much less ourselves about why we are there.

Still, I am an optimist. The newest incarnation of this myopia is the rip off of Hollywood by the art world. I recently saw a video of one of Bill Viola's works at the Guggenheim here in NYC. It was of a building that he had constructed which progressed from normal pedestrian traffic in and out and across the front, into a torrential cascade of water from the door and windows, sending people scattering, as if some had just barely escaped. It was intense, it was well done, it had an idea (sort of), but once you saw it, there was no reason to ever see it again. There wasn't any sense of transcendence. No larger awareness. The idea was no more than a single word in a one liner that gave no more than a cheap thrill. Indeed, you left with less, an empty feeling. This is Hollywood Lite. It's the effect without the substance. It's not that it doesn't reflect society, one of the important validators of art, but it's simplicity and literalness was ham fisted rather than eloquent.

I was in Venice for the recent debacle called Biennale. One of the more talked about pavilions was the Australian. There, life size(?) "somethings" made out of some space age goo no doubt, showed us genetic permutations that were far too cute. Somehow a polyploidy mutant would probably have ears like a Doberman rather than a puppy dog and coming out of its back. Surely not symmetrical. And the little 'pig asses' - could they have made you want to squeeze their cheeks any more. Where was the flayed flesh and crazed look?

Hollywood simply does it better - for more than twenty years. And Pixar animates them. Really well. Have you seen what artists generally do with animation? It's a good thing they are not surgeons. I have had a sinking feeling for several years that many people that would have been artists are instead in the field of high tech. This is where the fantastic ideas emerge that create the 'magic' that we too often accept as art. Programs like Photoshop and Final Cut have made incredible things possible that would otherwise take highly skilled technicians, or a sharp pair of scissors and a lot of time. Both out of the reach of most of us. I've been doing some video work, and have learned how to do some editing and special effects. Too often in galleries or studios, I find myself looking at the results of a drop down menu rather than a good idea. Cutting and pasting video has become no more difficult than doing the same thing with the text of the article you are reading. Now when I see an important and compelling film that has been hijacked and the best known and most powerful scene, is replayed over and over again, slowing it down or speeding it up. This is more of a trespass than an homage. A poor effort at value by association, it probably isn't legal or at least it shouldn't be.

First, artists caught in the transition have to be wary of being mesmerized by technology, and so do younger ones. Technology is still too often an inside knowledge used by the 'informed', but soon, when the technology is invisible, it will be a tool again. New Media departments? How about new ideas and progressive thinking departments, or putting the power tools and presses in the new media department and calling it the tool shed. Go to the movies instead.




CONTENTS







ART WORK
LOOKING FOR A HUSBAND WITH AN EU PASSPORT BY TANJA OSTOJIC
ONLINE
Light Type Writer
Constantin Luser
TRANSMISSION

The
Plug'n'Pray
project

Lionello Borean & Chiara Grandesso

Light Type Writer
Constantin Luser

The Digital Golem
Eric Van Hove

Good News©
Mihael Milunović

A View ThRough the Red Window
Sarawut Chutiwongpeti


TOPIC AREAS
SYSTEMS

SYSTEMS
 
TRANS.MISSION
 
PERSONAL
 
MECHANIZED
 
MICRO-UTOPIAS
 

CONTENTS


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