the architectonics of controlled space/time
posted by Vinqo Denken at 9:39 PM
Wednesday, March 18, 2009
Previous Posts
- internal/external mapping
- unmarked destination/endgame homeland
- nameless number
- circled maze/lost between the lines(boundaries)
- s(h)ee/he(a)r/hea(r)t
- family portraits_time:negative
- the interior/interrogation
- border control/waiting room
- the wave/the flood (interview_one)
- the wave/the flood
3 Comments:
I remember him saying -- he reached out his hand and said, 'If I stretch my hand, will a hand come to meet me?
art reclaimed a pragmatic and even an organising function, that is, the right to directly intervene into politics. While in Germany and Italy the defeat of the Spartacist uprising and of the socialist general strike marked a setback for the revolutionary movement, in Russia the October Revolution instigated artists to take on an active role in the context of collective appropriation of the means of production.
With its modernist emphasis on the properties of the materials and their formal organisation into a coherent whole, constructivism had downplayed issues of distribution and audience. To be sure, in 1921 the leading group of constructivist artists that revolved around The Group for Objective Analysis had already embraced the principle that the kinetic life of materials and objects brought about by industrialisation undermined forever traditional, static notions of composition, and called for a new perceptual dynamic between artworks and audience based on interaction rather than contemplation.
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