|The First Art Newspaper on the Net
||Established in 1996
|| Sunday, August 28, 2016
|Exhibition at Generali Foundation examines the gesture or method of "counter-production"|
Installation view: Lili Reynaud-Dewar, I Dont Know What a Conceptual Artist Looks Like, 2012. Counter-Production, 2012, Generali Foundation. Courtesy the artist and Mary Mary, Glasgow. Photo: Wolfgang Thaler.
VIENNA.- In the wake of technological and economic transformation during the twentieth and twenty-first centuries, the image of artistic production has undergone major changes. In view of the inner constraints of a reality framed according to post-Fordism with its insistence on efficiency, flexibility, and intelligent self-management? To what extent and in what ways do artists participate in and confront contemporary conditions of global production and capital? Some artists have responded to the changed conditions of production indirectly by pointing out their intrinsic contradictions with the use of definitions such as productive non-production or non-productive production, counter-productive work, or the body as site of reproduction and self-production.
The exhibition Counter-Production examines the gesture or method of counter-production so as to grasp and address questions relating to the ways in which contemporary artistic production functions. At the same time, this attempt forms the basis of a redefinition of the term counter-production, which, like the politico-economic, technological and socio-cultural fields in which it originally made its appearance, is subject to historical transformation and, as such, is to be redefined.
Emerging from historical cinema and philosophy as influenced by the post-1968 counter-cultural movements, this concept has since continued to circulate, thus directly or incidentally subject to inquiry and inspiration in the works of contemporary artists. This may be observed in the case of Marine Hugonniers unfinished, and partly concealed, manuscript Travail Contre Productif (1996on going). With gestures of restraint, the latter work seeks to produce something which is not productive.
Thirty-five years earlier, filmmaker and writer Alexander Kluge described counter -production as an aesthetic strategy designed to articulate a mode of counter-control built with the organization of individual experiences for infiltrating hegemonic structures. Kluges counterproductive practices, which took clear shape in his films, books, and unusual television formats, provided some of the material for Seth Prices essay Dispersion (2003) that was to later resurface as a series of screen-prints entitled Essay with Knots (2008) and the video Redistribution (2007). Prices triad highlights the way in which art in the era of digital media circulates in the same way as any other information on the Internet: uncontrollable, vulnerable to manipulation, repackaged in many contexts without being regulated by them.
Unlike the early 1990s, a time in which counter-production and the notion of counter-public were discussed in conjunction with political and artistic forms of activist, participatory or service-oriented art, through its polyvalent artistic approaches this exhibition indicates how, today, this concept may be reinvoked as a possibility for bringing into focus the artwork itself together with its processes of production. Opening up three zones of interrelation, the exhibition seeks to offer different examples of where and how the concept of counter-production may provide artists with the possibility of generating a critical distance.
Productive Displacement brings together works of art that deviate from conventional notions of artistic production, presentation and communication so as to critically examine the very principles of this conformity. In addition to Marine Hugonnier and Seth Price, Ricardo Basbaum and Dexter Sinister likewise directly investigate the effects of artistic production. The fact that, for example, design and distribution processes may serve as an allegory of how things become their own shadows, is shown by designer-editor-publisher duo Dexter Sinister with their graphic design-cum-work of art developed especially for the exhibition, and which quite literally inverts Generali Foundations corporate design concept.
Creative Speculations: Hierarchies and Structural Movement suggests how the frequently concealed normative order originating in recognized structures changes into the opposite of its initial purpose. By means of performative and narrative methods, works by Mary Ellen Carroll, Goldin+Senneby, Marion von Osten, and Lili Reynaud-Dewar question various courses of action in disparate fields governed by neo-liberal policies such as cultural institutions, contemporary banking, urban construction, or regional development planning. The abstract world of global finance, for instance, is the subject of the work The Discreet Charm (2011-2012) by artist duo Goldin+Senneby, whereby the spatial model of the Generali Foundation (on a scale of 1:25) is transformed into the theater of a magic construction of value.
Modeling the Self considers the property relations of the body as the site of sexual and identity-related processes of negotiation. Henrik Olesen, Johannes Porsch, Josephine Pryde and Josef Strau exhibit a range of approaches for showing how, like artistic practice, the subjectpartly identified in the artists biographyis likewise entangled in complex economic realities. Olesen addresses the relationship between man and machine by studying the figure of British mathematician Alan Turing, whereas Prydes photographic series Adoption (2009) combines close-ups of a toddler with the aesthetic of fashion photography to generate an allegory around the question of how, and by what means, the artist-subject is involved in the art industry.
In a text published in the exhibition catalogue Make Your Own Life: Artists In & Out of Cologne (2006), Strau coined the expression non-productive attitude that he today understands as a posture of productive withdrawal in which life, work, and economy are affectively combined. He thus articulates an approach of critical distance which, with the deployment of non-production production, gets precisely to the heart of that ambivalence and contradictoriness in artistic production that comprises the exploratory thematic intention of the present exhibition. Hence, Counter-Production seeks to disclose the extent to which such an approach is capable of opening up potential perspectives for art.
September 7, 2012
Sotheby's at Chatsworth, features, for the first time, the work of a single artist, Barry Flanagan
Sweden's Nationalmuseum announces acquisition of a painting by artist Jan Lievens
Bruce Silverstein Gallery reunites seven artists to re-examine crucial moment in the history of American art
Forty Lots of James Bond memorabilia to be offered at an online-only auction without reserve
Concatenation. Signature, Seriality, Painting, a group show opens at Blain/Southern in London
Free app coincides with the opening of British artist Tony Cragg's exhibition in London
Exhibition of rare vintage Russian photographs opens at Nailya Alexander Gallery
Magician David Copperfield buys newly discovered 1960 Martin Luther King recording
Phillips de Pury & Co. announces highlights from its forthcoming Design & Nordic Design Auctions
Dmitri Plavinsky, 76, leading artist of Nonconformist Soviet and Contemporary Russian art, dies
Lu Zhengyuan presents a clever twist on the concepts of real and fake at Eli Klein Fine Art
Analia Saban's first solo exhibition in New York opens at Tanya Bonakdar Gallery
National Portrait Gallery announces Taylor Wessing Photographic Portrait Prize 2012 shortlist
Bonhams Hong Kong offers stunning gems from jeweller to the stars Van Cleef & Arpels
Bonhams appoint Catherine Yaiche as its representative in France
Exhibition at Generali Foundation examines the gesture or method of "counter-production"
University of Virginia's Fralin Museum of Art photography exhibit makes science visible
Lady Gaga's meat dress to be shown at the National Museum of Women in the Arts
Martha Jackson Jarvis: Ancestors' Bones on view at the University Museums, University of Delaware
Most Popular Last Seven Days
1.- Spanish publisher clones world's most mysterious book: The Voynich Manuscript
2.- Naked Trump leaves NY in giggles until demolished
3.- New research reveals that iceman "Otzi" was potentially a versatile tailor
4.- United States judge sides with artist forced to prove painting is not his
5.- Caravaggio was not a murderer: The response to an article in Burlington Magazine
6.- High-tech imaging reveals rare precolonial Mexican manuscript hidden from view
7.- Smithsonian: Venus-like exoplanet might have Oxygen atmosphere, but not life
8.- Papuan tribe preserves ancient rite of mummification
9.- Kunsthalle Bremen acquires major copperplate engraving by Albrecht Dürer
10.- World's largest William Blake gallery to open in San Francisco
Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .
|Royalville Communications, Inc|
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.