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| - | + | <item>At The Supermarket</item> | |
| - | + | <item>Bella Ciao</item> | |
| - | + | <item>Art As Politics As Art</item> | |
| + | <item>The Space Outside Meaning</item> | ||
| + | <item>Spitting</item> | ||
| + | <item>Fake</item> | ||
| + | <item>Klein's Bottles</item> | ||
| + | <item>Art Machines</item> | ||
| + | <item>Family (an acceptation) — Famille (une acceptation)</item> | ||
| + | <item>Round trip from Conceptual Paradise</item> | ||
| + | <item>Technical Drawings</item> | ||
| + | <item>Lawrence Weiner</item> | ||
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My artistic practice increasingly revolves around Authority: the forms its political, scientific and artistic instances adopt, the means of legitimation they deploy and the responses they trigger - be it obedience, influence or abhorrence. I question the relationships between these instances, study their collisions, their discursive cannibalism. I engage these means and responses plastically, as a medium to be explored using our experience of producers and recipients of authoritarian interactions. The investigation usually oscillates between a performative-naive approach and a linguistic-ironic take on my own reactions. A form of fetishism for epistemic and aesthetic beauty, or rather: a nostalgia for formal beauty, occasionally surfaces despite the overwhelming authority of the image. My works thus encompass naive resistances against the powers that be, contemplative registrations mourning the image's lost allegiances, longing for a new Authority, ironic bravados and critical plays on legitimacy. | My artistic practice increasingly revolves around Authority: the forms its political, scientific and artistic instances adopt, the means of legitimation they deploy and the responses they trigger - be it obedience, influence or abhorrence. I question the relationships between these instances, study their collisions, their discursive cannibalism. I engage these means and responses plastically, as a medium to be explored using our experience of producers and recipients of authoritarian interactions. The investigation usually oscillates between a performative-naive approach and a linguistic-ironic take on my own reactions. A form of fetishism for epistemic and aesthetic beauty, or rather: a nostalgia for formal beauty, occasionally surfaces despite the overwhelming authority of the image. My works thus encompass naive resistances against the powers that be, contemplative registrations mourning the image's lost allegiances, longing for a new Authority, ironic bravados and critical plays on legitimacy. | ||
Revision as of 12:03, 14 February 2011
My artistic practice increasingly revolves around Authority: the forms its political, scientific and artistic instances adopt, the means of legitimation they deploy and the responses they trigger - be it obedience, influence or abhorrence. I question the relationships between these instances, study their collisions, their discursive cannibalism. I engage these means and responses plastically, as a medium to be explored using our experience of producers and recipients of authoritarian interactions. The investigation usually oscillates between a performative-naive approach and a linguistic-ironic take on my own reactions. A form of fetishism for epistemic and aesthetic beauty, or rather: a nostalgia for formal beauty, occasionally surfaces despite the overwhelming authority of the image. My works thus encompass naive resistances against the powers that be, contemplative registrations mourning the image's lost allegiances, longing for a new Authority, ironic bravados and critical plays on legitimacy.
