8.75 meters of fame (2012), by Maria Anwander
artist subject, fake, fame, imagery, institution, logo, museum, photographyMonday, November 5th, 2012
Museums, like asylums and jails, have wards and cells – in other words, neutral rooms called “galleries.” A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world. A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence. They are looked upon as so many inanimate invalids, waiting for critics to pronounce them curable or incurable. The function of the warden-curator is to separate art from the rest of society. Next comes integration. Once the work of art is totally neutralized, ineffective, abstracted, safe, and politically lobotomized it is ready to be consumed by society.
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Multiple new models of curation have evolved in stark contrast to the traditional model that centers itself around the expert opinion of the curator. Independent curators are utilizing alternative configurations of gallery space or abandoning it entirely, a rejection of the museum as a monopolistic cultural producer.
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What is the Crisis of Competence? For quite some time now Western societies have found themselves in a crisis of representation which manifests itself in art, politics and other fields. The rise of abstract art in the 20th century—which virtually severed all ties between the world of objects and their pictorial representation—became the visual symptom of this crisis. The crisis, in turn, was further aggravated by this exit from the picture-world. Art happenings and ambience, or object culture and installations, depart from the picture as their arena of action and, in its stead, have taken reality by storm: the real world itself becomes their stage or showcase of action. Media art, especially, avails itseif of the global information space. Nevertheless this phenomenon has not resolved the crisis of representation: rather, it is indicative of a more deeply situated crisis, namely, the crisis of competence, at the focal point of which is the question of legitimacy.
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