30.11.20 Form and formlessness
I often present my work as a work in progress, and choose to install it differently each time. It's changing and changeable. It reminds me of Bataille and what he says of form and formlessness. Also, Mary Douglas and disorder.
Claire Bishop, writing of the exhibition at the former, Palais de Tokyo in 2002:
'The curators promoting this “laboratory” paradigm—including Maria Lind, Hans Ulrich Obrist, Barbara van der Linden, Hou Hanru, and Nicolas Bourriaud— have to a large extent been encouraged to adopt this curatorial modus operandi as a direct reaction to the type of art produced in the 1990s: work that is openended, interactive, and resistant to closure, often appearing to be “work-in-progress” rather than a completed object. Such work seems to derive from a creative misreading of poststructuralist theory: rather than the interpretations of a work of art being open to continual reassessment, the work of art itself is argued to be in perpetual flux. There are many problems with this idea, not least of which is the difficulty of discerning a work whose identity is willfully unstable.' (2004, p 52)
Bishop. C. (2004) Antagonism and relational aesthetics Available at: http://www.teamgal.com/production/1701/SS04October.pdf (Accessed 18 December 2019)
I often present my work as a work in progress, and choose to install it differently each time. It's changing and changeable. It reminds me of Bataille and what he says of form and formlessness. Also, Mary Douglas and disorder.
Claire Bishop, writing of the exhibition at the former, Palais de Tokyo in 2002:
'The curators promoting this “laboratory” paradigm—including Maria Lind, Hans Ulrich Obrist, Barbara van der Linden, Hou Hanru, and Nicolas Bourriaud— have to a large extent been encouraged to adopt this curatorial modus operandi as a direct reaction to the type of art produced in the 1990s: work that is openended, interactive, and resistant to closure, often appearing to be “work-in-progress” rather than a completed object. Such work seems to derive from a creative misreading of poststructuralist theory: rather than the interpretations of a work of art being open to continual reassessment, the work of art itself is argued to be in perpetual flux. There are many problems with this idea, not least of which is the difficulty of discerning a work whose identity is willfully unstable.' (2004, p 52)
Bishop. C. (2004) Antagonism and relational aesthetics Available at: http://www.teamgal.com/production/1701/SS04October.pdf (Accessed 18 December 2019)