5.6.15

FIVE YEARS ON . . . trying to resist 'the unspeakable compromise of the portable work'

Thinking of why we set up Articulate as a project space and Daniel Buren's The Function of the Studio 1971 . . .  which he ended by praising Brancusi (before his studio got moved) for being

. . . the only artist who, in order to preserve the relationship between the work and its place of production, dared to present his work in the very place where it first saw light, thereby short-circuiting the museum's desire to classify, to embellish, and to select. The work is seen, for better or worse, as it was conceived. Thus, Brancusi is also the only artist to preserve what the museum goes to great lengths to conceal: the banality of the work. 
It might also be said—but this requires a lengthy study of its own—that the way in which the work is anchored in the studio has nothing whatsoever to do with the "anchorage" to which the museum submits every work it exhibits. Brancusi also demonstrates that the so-called purity of his works is no less beautiful or interesting when seen amidst the clutter of the studio—various tools; other works, some of them incomplete, others complete—than it is in the immaculate space of the sterilized museum.
The art of yesterday and today is not only marked by the studio as an essential, often unique, place of production; it proceeds from it. All my work proceeds from its extinction.







photos: Mandy Burgess 


Susie Williams
Ro Murray

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