Very interesting, especially about Andy Warhold. To this day I can not understand a certain nostalgia for works of art. It seems that everything that is modern or postmodern gains a morally dubious character. There is a story that the ready-mades came to follow this path wanting to know first what the meaning of what was exposed in galleries than properly “beautiful” or “aesthetic.” Everything happens, thus, according to the scene of the Foutain or Air of Paris of Marcel Duchamp
and Andy Warhol’s Brillo Boxes. Marcel Duchamp spent the Christmas days of 1919 with his family in Rouen. The afternoon of December 27th he wanted to go to Le Havre aboard the SS Touraine to travel to New York. Shortly before leaving, he went to a drugstore on Rua Blomet where he persuaded the pharmacist to remove a medium-sized ampoule from the shelf, opened the seal, poured the liquid contained in it, and then closed the vault container. Once in New York, Duchamp handed the empty ampule that he had brought in his luggage to the wedding of collectors Walter and Louise Arensberg as a gift of visit, with the argument that as successful friends they already possessed everything, it occurred to him to bring you 50 cubic centimeters of Paris air. This is how it happened that a volume of French coastal air entered the list of the first ready-mades. It seems that Duchamp was not concerned that the prepared air object represented a falsification from the outset, since it had not been filled with the air of Paris, but with that of a Le Havre pharmacy. The act of nomination prevailed over its real origin. Nevertheless, the “original” kept it in the heart; when a neighbor’s son inadvertently broke the Arensberg collection in Paris in 1949, Duchamp had a friend of mine solicitously return him to Le Havre for the same ampoule at the same pharmacy. Ten years later, in the Hall of a New York hotel, Duchamp told one interviewer: “Art was a dream that became useless.” “I spend my time with all lightness, but I did not know what to do … I’m a respirator.” This is a perfect example of the banal nature of art. In a way, with the installation of man in the world these places functioned as collections of objects gathered by their residents from the point of view of private, ordinary, and working people. They represent natural exhibitions that are only differentiated by collections in art galleries because their visitors must be known and sometimes invited from the residents of it. The houses function as anti-exposures that function as private collections. This is a private collection in a public space. A museum of non-artist collectors. This consists of a type of filter or the world sieve that selects the accustomed and unaccustomed. One can only penetrate within him as a kind of spectator. Typical case of exhibitions and museums, but it sounds strange because they are places that serve for the dwelling where there is nothing to observe or to fix on anything and not to be surprised at anything. Who wants to take a look is through a personal invitation. Boris Groys considered this as one of the most convincing artistic situations of the contemporary era. It is common when it comes to houses or dwellings that the resident when entering his own home loses the behavior of observer, without its place appears the diffuse, one wishes to take and want to surround itself off-center. Dwelling acquires a character of disfellowshipment because its meaning is to generate habit, the triviality of unconcerned habit as an obligation. If the house emerges in a museum it is no wonder that the entrance into the present houses or the immersion in them are the emergence or the emergence of the usual house in the museum that becomes the subject of visitor immersion in it. It would only be left with the exhibition exposing its own residents for a total and finished exhibition. Those who entered into the houses today would find themselves in a kind of dwelling-like-if. An experience of participation in temporal immersion in something that meant to others the habitual and everyday situation, its form of submersion, seen as the invitation or the call for the entrance of the observer in the represented situation, can only assume an installation already in the present. These are commotions or disorders of normal viewing conditions. The traditional art exhibition displayed magnificent objects, framed, suspended or placed on pedestals. Already the installation presents the submergido and the submergente at the same time.
With this scenario, the output of the individual returns to the culture of the ephemeral and the insignificant.
Apartment individualists have discovered a process that allows them to pair with themselves. Andy Warhol, was one of the first to express this explicitly, when he stated that he married his tape recorder. Modern autogamy involves the choice of a posture of “experiencing” one’s own life, facing it, evaluatively, from the outside. Individuals, in the age of a culture of experience, constantly seek differences from themselves. A self-intensification that I think is almost deadly. I am not amazed at the gigantic rate of drug use nowadays (drugs in the broad sense). It seems we have a tendency to get addicted to just about everything. An attempt at self-actualization cumulated with self-experimentation resulting in self-enhancement. Overcoming limits to break self-preservation into the idea of self-extermination. It’s not uncommon to see former players, celebrities, ex-athletes or people who are job addicts say they were addicted to the sense of victory, to hit goals, to score goals, to win medals, to exceed limits, they were even in a sense, stimulated for this, towards the path of hysteria, euphoria, ecstasy associating there a psychosomatic idea that includes the work-technique itself as praxis. An individual who experiences self-enhancement as a suspension to ecstasy, a kind of suicidal evaporation (we move from existentialism to a “will” of non-existentialism).
I do not have a clue what it was like to live in the 60s and 70s. I just wanted to hear the great 80s. Depeche Mode, Tears for Fears, Duran Duran, New Order, Queen, U2, Pet Shop Boys, Europe, Metallica, Black Sabbath, Whitesnake, Pink Floyd, Dire straits, etc. I do not consider myself to be nostalgic, I think that today’s times are generally better.
johnnydavis54: