Abstrakti
By rephrasing the title of Richard Hamilton’s famous collage Just what is it that makes today’s homes so different, so appealing? (1956), LIAF 2013 aims to explore a shift that can be described as one from a condition of successive crises followed by recoveries, to one where crises shape a new permanent condition. It is a question prompted by our present that seems to be stuck in a continuous loop, in which the predominant ideas that have shaped our world are unsustainable and unimaginative when it comes to solving everyday problems people face in most parts of the world.
Despite slight changes, and perhaps even small improvements, no practical alternatives have yet appeared to challenge these ideas, thus causing a worldwide state of limbo in socio-economic life. The uneasiness in our day-to-day existence appears most strikingly in the form of antagonisms, strong and sometimes violent disagreements between people, people and their governments, people and political ideologies.
Acknowledging the culture of art as an integrated part of society, crises can also be traced within an increasingly institutionalised sphere of the arts. However, the antagonisms induced by these crises are not identical to the ones we see in society at large. Bridged by a diversified media-scape, our current condition has made evident that the professional antagonisms of art constructed for the betterment of society are conditioned differently than the amateur antagonisms that are forced to the fore by injustices in society.
The curatorial attitude of LIAF 2013 aims to create a reflection on how art can position itself as a profession and as a vocabulary within societies in which the protocol of contemporary institutional art practice is built on the idea of instigating, designing, or manufacturing some form of antagonism through its programming. The scarcity of art institutional structures in Lofoten offers LIAF 2013 an opportunity to seriously consider the conditions described above, immersing itself in the fabric of the local community, its domestic, commercial and public spaces while exploring the current moment’s global uneasiness.
Despite slight changes, and perhaps even small improvements, no practical alternatives have yet appeared to challenge these ideas, thus causing a worldwide state of limbo in socio-economic life. The uneasiness in our day-to-day existence appears most strikingly in the form of antagonisms, strong and sometimes violent disagreements between people, people and their governments, people and political ideologies.
Acknowledging the culture of art as an integrated part of society, crises can also be traced within an increasingly institutionalised sphere of the arts. However, the antagonisms induced by these crises are not identical to the ones we see in society at large. Bridged by a diversified media-scape, our current condition has made evident that the professional antagonisms of art constructed for the betterment of society are conditioned differently than the amateur antagonisms that are forced to the fore by injustices in society.
The curatorial attitude of LIAF 2013 aims to create a reflection on how art can position itself as a profession and as a vocabulary within societies in which the protocol of contemporary institutional art practice is built on the idea of instigating, designing, or manufacturing some form of antagonism through its programming. The scarcity of art institutional structures in Lofoten offers LIAF 2013 an opportunity to seriously consider the conditions described above, immersing itself in the fabric of the local community, its domestic, commercial and public spaces while exploring the current moment’s global uneasiness.
| Alkuperäiskieli | Englanti |
|---|---|
| Kustantaja | Nordnorsk Kunstnersenter |
| Tila | Julkaistu - syysk. 2013 |
| OKM-julkaisutyyppi | F2 Taiteellisen teoksen tai esityksen osatoteutus |
| Tapahtuma | Lofoten International Art Festival - Svolvær, Norja Kesto: 6 syysk. 2013 → 29 syysk. 2013 Konferenssinumero: LIAF http://www.liaf2013.no/ |
Field of art
- Nykytaide