Tuesday, May 31, 2016

Re: [Yasmin_discussions] Mercado Central Exchange - Science is not Art

Please excuse my sudden interuption but as a long time lurker of this
list I am often puzzled by its content and this time I really feel like
making a comment.

art an individual process?????????? there have been more artists
involved in collective processes across history than individual one. If
you look back in time most of the work attributed by our recent
individualisms to one artists are in fact done by several persons,
bruegel de jonge for example, and if you look more recent you only find
networks of people, situationists surrealists .... and more recently
F/Loss endeavors.

as for science as an international collective process I think to claim
that with a bare minimum equity lets first get rid of DRM (look at
sci-hub sad scandal)
http://www.wired.com/2016/04/stealing-publicly-funded-research-isnt-stealing/


heart

Natacha


On 30/05/2016 17:00, Liliane Lijn wrote:
> Hi Roger, Bronac and all
>
> I have been reading your reactions to Jonathan Jones' negative review of Ryogi Ikeda's installation. I tried to see it in the Brewer street Carpark but it was very soon closed down due to overcrowding. I have been to CERN on a fascinating albeit brief visit and came away with more of an understanding of the hugeness of the endeavour. One of the great differences between science and art is that science, despite the usual individual striving for success, is on the whole a collaborative discipline. It is collaborative on an international scale, while art is on the whole rooted in the individual and up until very recently, a way of seeing the world through another's eyes.Proust described it as being similar to seeing the then unknown dark side of the moon. We have now seen that dark side and his metaphor may no longer be valid, in that art practice is slowly moving towards a more collaborative methodology, particularly in the field of art and science.
>
> I also came away from CERN feeling that cosmology and particle physics, now so entwined, is also deeply connected to ancient creation myths.
>
> I concur with Bronac's query regarding the absence of serious critical attention from major art journals and newspapers but wouldn't that also be because they are tied to the entire gallery museum network? That and an unwillingness to embark on research of their own sets the reviewers back in the comfortable past of art devoted to formal aesthetic pursuits or ironic commentaries on society. As Bronac writes, there is a whole world of younger more energetic minds who find this work of interest, who can and do interact with it. So many of them that the carpark had to be closed and I couldn't see the installation.
>
> Even more interesting is the possibility that scientists and artists may be able to feed each other, that collaborations between artists and scientists can become a meaningful two way process where both discover something new from their communication.
>
> all best
>
> Liliane
>
> Liliane Lijn
>
> 07770350633
> 02088095636
> www.lilianelijn.com <http://www.lilianelijn.com/>
>> On 29 May 2016, at 20:15, bronac@boundaryobject.org wrote:
>>
>> Hi Roger and all
>>
>> I missed it unfortunately - but I did hear great things about this event
>> from curator/producers who understand this kind of work and there was a
>> real buzz about the project in London when it was taking place.
>>
>> You can sample a bit of it and read other perspectices from more
>> informed voices here:
>>
>> http://www.thevinylfactory.com/vinyl-factory-films/watch-a-trailer-for-ryoji-ikedas-supersymmetry-installation-open-now-at-brewer-street-car-park/
>>
>>
>> http://www.timeout.com/london/art/ryoji-ikeda-supersymmetry
>>
>> https://iloveqc.org/ryoji-ikeda-supersymmetry-at-brewer-street-carpark-london-review/
>>
>>
>> I think broader questions are 'why do even high profile big budget
>> art-science related works rarely get reviewed in mainstream press' or
>> 'why do they receive such poor (as in poorly researched) reviews when
>> this does happen'....which are difficult questions to
>> answer------suspect Joost is right. One wouldn't look to The Guardian or
>> its reviewers for an informed perspective on Ikeda and this kind of
>> practice which comes from a root that would not be familiar to them. It
>> is like they are being sent off to review a work without having any
>> knowledge of the artist's professional trajectory up to this point so
>> this doesn't get mentioned nor does any reference get made to the
>> context within which the CERN residency took place (ie a whole history
>> of such encounters). So the old chestnut of art and science and their
>> mutual mis/understanding becomes the focus of this tired and trite
>> commentary. Sadly while reviewers such as Jones might think they are
>> being provocative in fact fewer and fewer people are listening
>> ....certainly the audiences for this kind of work (which are enormous
>> and increasingly youthful) have slipped well beyond the orbit of the
>> newspaper's sphere of influence.
>> Bronańč
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