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theatricality,somewhere inbetween empathyand the uncanny
FRIED
Not fitting the canon of Greenbergfor seeking the autonomy ofpainting
Painting is proper art
Its autonomy is itsdistinction/separation/abstractionfrom the actual (literal) spatialenvironment
Literalist work not (modern)painting , not (modern) sculptureLiteralist work then objects
paintingworks are acknowledged asobjects
BUCK-MORSS[Kant] The moral being is sense-dead from the
start.Kants trascendental subject purges himself ofthe senses that endanger his autonomy.Senses unavoidably entangle the subject in theworld, and make him susceptible to sympathyand tears.
Benjamin is saying that the sensory alienationlies at the source of the aestheticization ofpolitics, which fascism does not create, butmerely manages. We are to assume thatboth alienation and aestheticized politics asthe sensual conditions of modernity outlivefascism and thus so does the enjoymenttaken in viewing our own destruction.
Benjamin demands from artto undo the alienation of the corporealsensorium, to restore the instinctual power ofthe human bodily senses for the sake ofhumanitys self-preservation () not byavoiding the new technologies, but by passingthrough them.
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Actual space is intrinsically more powerful and specific than paint on a flatsurfaceDonald Judd (150)
I wish to emphasize that things are in a space with oneself, rather than one isin a space surrounded by things.Robert Morris (154)
Literalist sensibility is theatrical because, to begin with, it is concerned withthe actual circumstances in which the beholder encounters literalist work.(153)
Literalist work makes evident the collapse of Greenbergian pictorial cannon,which required painting not to be visually illusionist and illusory
Fried exposes a different kind of illusionism, which is somatic or kinesthetic theillusion of absent presences that he names theatricality.
Presence
SizeScaleBodily proximityVisual distanceDemands to be taken intoaccount (seriously)Hollowness / Insinuatedinside
Literalist work
not strictly withinproducing a situationrelational to the beholderincluding the beholderbeholders body and not onlybeholders gazerelational to the architecture andspace
obtrusiveness and agressiveness
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PERFORMATIVE ELEMENTS DESCRIBED BY FRIED
The barriers between the arts are in the process of crumblingThe arts are sliding towards a final, implosive, desirable synthesis (164)
The experience in question persists in time, and the presentment of endlessness that,I have been claiming, is central to literalist art and theory is essentially a presentmentof endless, or indefinite, duration. (166)
Theatricality is concerned with the sense of temporality: of time both passing and tocome, approaching and receding. (167)
Audience of one
The work has been waiting for himThe work refuses to let her alone
Confronting/isolating/distancing her
Walter Benjamins understanding of modern experience is neurological. Itcenters on shock. The more readily consciousness registers these shocks, theless they are to have a traumatic effect.
Under extreme stress the ego employs consciousness as a buffer, blocking theopenness of the synaesthetic system, thereby isolating present consciousnessfrom past memory. Without the depth of memory, experience is impoverished.
The problem is that under conditions of modern shock the daily shocks ofmodern worldresponse to stimuli without thinking has become necessary forsurvival.
Perception becomes experience only when it connects with sense-memories of
the past.
(17)
BUCK-MORSS
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The body under general anaestheticsTripartite splitting of experience / three different phenomenologies
agency / bodiliness / cognition
AGENT agency the operating surgeonMATTER object as hyle the docile body of the patient
OBSERVER perceiving and acknowledging the accomplished result
EMPATHY (Susan Foster)
- Piety- contagion of the imagination- feeling anothers feelings- Compassion- Shared sensibility- Feeling into the world
Actions executed by nullificationor empathic inability:MassacreEnslavementTortureAbduction
SOMATIC ATTENTION (Csordas)
The body is a biological, material entity,while embodiment can be understoodas an indeterminate methodologicalfield defined by perceptual experienceand the mode of presence andengagement in the world.
Embodied experience is the starting pointfor analyzing human participation in acultural world.
Phenomenology considers embodimentas the existential condition in whichculture and self are grounded.
The ways we attend to and with ourbodies, and even the possibility ofattending, are neither arbitrary norbiologically determined, but are culturallyconstituted.
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Allan Kaprow
Text by Allan Kaprow in:http://www.ubu.com/aspen/aspen6A/pushAndPull.html
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Push and Pull. A Furniture Comedy forHans Hofmann1963
Ana Roldn
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Two long weapons without armor, 2004 My favorit antagonist, 2008
The plot of the five masquerades, 2009
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Cmico, mgico, musical, 2008
Cmico, mgico, musical, 2008
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Doris Salcedo
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Abyss, 2005brick, cement, steel and epoxyc resin
Installation: T1 Triennial of Contemporary Art, Castello di Rivoli, Turin
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Abyss, 2005brick, cement, steel and epoxyc resin
441 x 1386 x 1624 cmInstallation: T1 Triennial of Contemporary Art, Castello di Rivoli, Turin
Damin Ortega
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The Independent, 2010Installation
The Curve, London
The Independent, 2010Installation
The Curve, London
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Damin Ortega
The Independent, 2010Installation
The Curve, London
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Mike Nelson
MAGAZIN, Byk Valide Han, 2003Found space with constructed darkroom, various media
including photographs
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MAGAZIN, Byk Valide Han, 2003Found space with constructed darkroom, various media
including photographs
MAGAZIN, Byk Valide Han, 2006 (Frieze Art Fair)Found space with constructed darkroom, various media
including photographs
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Simon Fujiwara
Selective Memory, 2012Tate Saint Ives, Exhibition 1982
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Welcome to the Hotel Munber, 20082010Tate Saint Ives, Exhibition 1982
Mothers, of Invention(detail), 2012Tate Saint Ives, Exhibition 1982
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Buck-Morss, Susan, Aesthetics and Anaesthetics: Walter Benjamin'sArtwork Essay Reconsidered in October, Vol. 62, Autumn, 1992. pp.3-41.
Csordas, Thomas J. Somatic Modes of Attention in CulturalAnthropology, Vol. 8, No. 2, May 1993. pp. 135-156.
Foster, Susan Leigh. Choreographing Empathy: Kinesthesia inPerformance. London / New York: Routledge, 2011.
Fried, Michael Art and Objecthood (1967) in Art and Objecthood:Essays and Reviews. Illinois: University Of Chicago Press, 1998. pp.148-172.
Vidler, Anthony. The Architectural Uncanny: Essays in the ModernUnhomely. Cambridge, MA/London: The MIT Press, 1992.