Thursday, 25 February 2010
Tuesday, 9 February 2010
Best European Fiction 2010, Aleksandar Hemon, ed., Dalkey Archive Press, 2010
It has been said before, and often, that anthologies are difficult and prone to error, and even if they do their job right they can still leave their readers dissatisfied, yearning for more. Anthologising Europe, in any shape or form, is always a formidable challenge. Dalkey Archive Press have initiated a timely and ambitious effort to try and collect the continent’s best fiction, edited by Bosnian writer Aleksandar Hemon, translate it and present it to an international, mainly American readership.
Friday, 5 February 2010
This qoute came from the exhibition catalogue of The Death of The Audience in Vienna's Secession which Line was lucky enough to see last summer. And the on-going 'transgressions' of the thesis in question is under discussion in the latest issue of the e-flux journal, no. 13.
Take Djordje Bojić [André du Colombier] for instance, a Serbian [French] artist who is even less well-known than those named above, an incredible character who embodied a kind of late version of Dada from the '90s and early 2000s [‘60s to the ‘80s], but with a very precise and concentrated radicality. He constantly worked with common people, less showing work than giving it, a bit like a neighborhood poet, exchanging a piece of work for a pack of cigarettes, generally using the thread of the rumor, the web of the conversation. He used to call up artists or museum curators and make a work from the conversation. Bojić [Colombier] managed to represent a way of being marginal, of staying on the border of exhibitions even while being well-known by the whole art scene...
.... Of course it’s a bit too easy to hide behind the domination and exploitation of artists in authoritarian events such as biennials, but at the same time we can clearly see that the figure of the artist-hero is no longer current, but is rather a historicist view that tries to cling to the branches of the avant-garde. Similarly, in the context of the over-institutionalized Tate Triennial, “Altermodern” works like a parody of the work of the great critics of the twentieth century, up to Pierre Restany or Germano Celant, trying to create a movement. It’s still about trying to create a party, a power position, an adhesion, contrary even to how artists themselves work. Rather than oversimplify the role of the artist, it might make more sense to look outside this figure to a form of organization to be presented or prolonged, one in which the community is involved, where not only the artist but the audience provides a disseminated, deterritorialized experience for the exhibition.
- Pierre Pal-Blanc