Wednesday, February 17, 2010

What is Art?















Before I begin, I would like to let you know that I have a nice little surprise for you at the end. So, please read the whole article (oooh poor thing, I know it's more than a paragraph, but I'm sure you can handle it! Just make yourself a nice cup of tea or something). If you must, you can skip to the end and find the surprise framed in white. But I promise you, it really won't make sense unless you read the whole thing.

I came across this old post on a scientific journal, Cognitive Daily, written by cognitive scientists, which posed a legitimate question: Is this Art?

Now, I could wax philosophical all week long about the historical dichotomy between craft and the concept. I could reference Kant, or search for the roots of Kant's beauty and sublime by discussing Plato's form and Aristotle's matter. I could take a more contemporary take and explore a linguistic analysis vis-à-vis Derrida, or a contextual analysis a la Foucault. But I won't.

It would be a waste of my time to debate whether or not this is Art. People have been debating this far longer than we remember and will continue to debate it long after we are dead. Duchamp was not the first to ask "what is Art", with his ready made "La Fontaine". We have been asking this question since the inception of the idea of Art - and even the genesis of the idea of Art is up for argument.

Ultimately you can approach "Art" today from one of two directions. You have either an idea in all it's abstract ambiguity (very hard to put your finger on), or you have it's manifestation in realty. What do we have when we approach such a piece as we see above? We have three blank canvases. Obviously a signifier. But why? It's so blatantly obvious that most people don't even see it. There is nothing on the canvas, therefore the idea is what Art is. Art is just the idea. Nothing more. If you haven't read into my tone so far, I'll spell it out for you: I'm being sarcastic. But in the interest of a little entertainment, I'll play along. I won't judge this piece based on its physical manifestation or absence thereof. I'll judge it based solely on its concept. Whatever that is. Let's play the part of the happy viewer and do what we're supposed to do: ask questions. So in response to this artist's "statement" or "creative expression", I'll ask a few questions.

First, who cares? Frankly, I would have just walked by this without even a second thought. It fails to grab my attention.

Is this piece relevant? I think not. But to conclude that we must ask a few more questions.

Does it say something in a new way? No. Malevich already did the whole minimalist thing to its natural conclusion. Then they did it again in the 70's. Does it say something new? No. Kant already said that Art was the idea, and he didn't even come up with the idea, he got it from Plato... so as an idea, it's over two thousand years old. Is it in a new context? Not really. So, either the artist was ignorant of these facts or the artist doesn't care if there's anything novel about the piece.

This is kind of a dead-end, so, let's look at it from another angle. Po-mo tells us that one can never really know the intention of the artist. The idea itself can't really be known. All I can know is my idea when I look at it. All we can say about this piece is that it represents only an idea and you have to fill in the blank. Therefore, you are the artist. Right? Every one's an artist? Very democratic of the artist to say so. But then why would anyone pay him to say this? Why would this be hanging in a museum? Why go through the trouble of stretching and priming a canvas (or paying someone else to do it), let alone three, if the point is just the idea? Just write it down, it's much easier, would probably convey your point more effectively, and best of all, would take up less room and therefore leave more space in the museum for something that's actually interesting.

Really, what is the point of this? I can sit on my couch eating potato chips and thinking of ideas all day long while scratching myself. Does that make me an artist? Does anyone care what those thoughts are?

I'm tempted to slip in at night and actually paint something on those canvases while no one is around. The Pompidou would certainly be surprised to come in one morning to find three masterpieces in place of their blank canvases. Besides, it would be a piece of performance! Why, they should love it, right? You know what? I think I'm on a roll. I like this whole conceptual thing. In fact, I think I'll create a conceptual work of my own right now.

Disclaimer: this article constitutes as a published document. As such, my Art idea has a copyright. I have all rights of reproduction of this idea.

drum roll please................................

I want you to take my following piece in all sincerity. I intend it to be a work of true Art and I want you to consider it as such. Further, I promise you this has never been done before. This will be the most conceptual piece of Art ever created, so hold onto your hats.

I have an brilliant idea. What is it? Well, that doesn't really matter. I say I'm an artist. Many people agree that I'm an artist. Many people agree that my ideas are valuable, so, my ideas are valuable. Just trust me, it's brilliant. Here it is:

I will sell you my Art idea and its copyright for $1,000,000. Too high a price? Don't worry, you don't have to pay me with real money, you can pay me with imaginary money. Our exchange takes place solely in the ethereal realms of the Internet and our collective imaginations. Just imagine that you handed me a brief case full of unmarked bills and I handed you an envelope in which rests my idea. Do you agree? OK, done.

Congratulations, we have just completed the first purely conceptual Art transaction!

So, what was the idea? Why, the very concept of the transaction itself. You've participated in the most conceptual Art event in history.

Now that that's been done. Can we move on please?

Wednesday, February 3, 2010

Kitsch Biennale 2010, Venice


T he Palazzo Cini Gallery


On the Grand Canal
17th September - 15th October




KB is an international exhibition for representational painting.
Venues are sought in Europe and North America.


KB is for painters who focus on:
• the archetypical, human condition
• handcraft, narrative and composition
• drama, pathos and sentimentality


KB is organized by WorldWideKitsch. WWK is a Norway based, non-profit organization established in 2005. Application forms for KB participation are posted on worldwidekitsch.com.
A new jury is chosen each year.

The Kitsch Biennale: A Brief History
Our predecessor, The Kitsch Annuale, opened in Norway in 2004. However, with the establishment of worldwidekitsch.com, the amount of applicants grew swiftly. Receiving submissions from all over the world, it was decided to establish the exhibition abroad. Simultaneously, the Kitsch Annuale was turned into a biennale, giving us time to locate venues.
The inaugural Kitsch Biennale was held at Munich`s Pasinger Fabrik in 2008. KB 08 welcomed 42 painters from 12 countries and exhibited 73 works. Guest Exhibitor, Patricia Traub teaches at The Pennsylvania Academy of Fine Arts, Philadelphia. Finally, over five-thousand visitors attended KB08, further underscoring its success.


The KB 2010 will be held on the first floor of The Palazzo Cini Gallery. Situated 100 yards from the renowned Accademia Museum, the Palazzo Cini Gallery houses the Cini foundation’s collection of paintings, such as the work of Botticelli and Pontormo. During the KB 2010, some of the accepted work will be exhibited among these renowned renaissance masters. A real ‘paragone’ (comparison), between contemporary and past masters - in true renaissance manner!
The Giorgio Cini Foundation is a non-profit cultural institution located in the heart of Venice. It was constituted by Count Vittorio Cini, in memory of his son Giorgio, with the aim of restoring the Island of San Giorgio Maggiore and of creating an international cultural centre that would re-integrate the Island into the life of Venice."


We welcome you to the opening Friday the 17th of September.

The 2010 Kitsch cruise
Arrive in Venice with splendor and style!


On the Kitsch Cruise, we offer you a unique travel experience…
Organizing KB10 presupposes the effort of volunteers and WWKmembers. But as great as our volunteers are, we are still dependent upon benefactors! The Cini Foundation has graciously opened their doors to us, but of course, many other expenses remain. Our goal is to achieve the growth of the Kitsch Biennale as a supportive institution and spotlight for the careers of figurative painters and sculptors. Therefore, we invite individuals and corporations supportive of cultural activity to sponsor our cause.

Sun Yachting Navigare has over 25 years experience in Mediterranean sailing cruises and maintains a superb fleet of modern 50 foot yachts from Jeanneau, Beneteau, Hanse and Bavaria.

Sun Yachting Navigare and WorldWideKitsch are pleased to present the Kitsch Cruise 2010. Departing on the 11th of September from Sibenik (central Croatia), this 10- day voyage will take us along the Croatian coast from Sibenik, over the Northern Adriatic sea.

Once at sea, you will experience some of the most beautiful sailing destinations in the world, like the Kornati Islands (pictured to the left) and the town of Pula. Just like Rome, Pula lies on seven hills and boasts a famous amphitheater. Here, you can enjoy a guided tour. Our last stop before Venice is the historic city of Rovinj. Famed as one ofthe most beautiful towns on the Adriatic coast, it is the home to the lost language of Istriot and boasts both a vibrant cultural and night life. Spend time on board the elegant ship with one of the painters, and arrive to an exclusive pre-opening cocktail party where you can meet many of the exhibitors.

Our return voyage ends in Novigrad (Croatia) Tuesday the 21st September.
1. Sibenik, Croatia
2. Rovinj, Croatia
3. Pula, Croatia

Accommodations
Exclusive Patron Boats
The 50 foot yachts will arrive in Venice on The Kitsch Biennale vernissage day – Friday the 17th of September. Two nights will be spent in magnificent Venice, using the yachts as hotels. For the sake of your comfort, the number of guest double cabins are reduced to three. This amounts to six patrons (normally, all four cabins are used for guests). All cabins have separate bathrooms.

Included:
• Experienced skipper and staff
• Food (including exclusive menu) and drinks. Exclusive and Main Sponsors will get a glass of
champagne when they board the boat. Dinners will be paid for individually on land.
• The possibility of arranging business meetings underway
• Mobile internet modems are available for purchase in Croatia.
• Transport to Croatia is arranged individually

Patron boats
The 50 foot yachts will arrive in Venice on The Kitsch Biennale vernissage day – Friday the 17th of September. Two nights are spent in Venice, using the yachts as hotels. All four double cabins are in use. Number of guests: eight.

Included:
• Experienced skipper and staff
• Food and drinks (dinners will be paid for individually on land)
• Transport to Croatia is arranged individually

Sponsorship Opportunities
In most countries, donations to non-profit organizations will be tax-deductable.

KITSCH BIENNALE 2010 Sponsor Levels

150.000 NOK & above:
- V.I.P cabins for six onboard a separate Kitsch Cruise 2010 “Exclusive Patron Boat”.
- V.I.P invitations for six persons to the exclusive vernissage, with exhibitors present.
- Three private curatorial tours of The Kitsch Biennale 2010 (for groups of up to 50 persons), including lecture on kitsch.
- Listing as “Exclusive Sponsor” on all printed material (invitations, posters, catalogues, e-mail invitations, etc) and your name noted in the opening speech.
- Ad / listing as sponsor on worldwidekitsch.com.
- Listing on museum donor wall.
- One guided tour of Venice.
- 100 catalogues.

100.000 NOK & above:
- V.I.P cabins for four onboard a separate Kitsch Cruise 2010 “Exclusive Patron Boat”.
- V.I.P invitations for four persons to the exclusive vernissage, with exhibitors present.
- Two private curatorial tours of The Kitsch Biennale 2010 (for groups of up to 40 persons), including lecture on kitsch.
- Listing as “Main Sponsor” on all printed material (invitations, posters, catalogues, e-mail invitations, etc) and your name noted in the opening speech.
- Ad / listing as sponsor on worldwidekitsch.com.
- Listing on museum donor wall.
- One guided tour of Venice.
- 50 catalogues.

50.000 NOK & above:
- V.I.P cabins for two onboard a separate Kitsch Cruise 2010 “Exclusive Patron Boat”.
- V.I.P invitations for two persons to the exclusive vernissage, with exhibitors present.
- One private curatorial tour of The Kitsch Biennale 2010 (for groups of up to 30 persons).
- Listing as sponsor on all printed material (invitations, posters, catalogues, e-mail invitations, etc) and your name noted in the opening speech.
- Ad / listing as sponsor on worldwidekitsch.com.
- Listing on museum donor wall.
- 30 catalogues.

25.000 NOK & above:
- V.I.P invitations for two people to the exclusive vernissage, with exhibitors present.
- One private curatorial tour of The Kitsch Biennale 2010 (for groups of up to 20 persons).
- Listing as sponsor on all printed material (invitations, posters, catalogues, e-mail invitations, etc). Mentioning in opening speech.
- Listing as sponsor on worldwidekitsch.com.
- Listing on museum donor wall.
- 15 catalogues.

10.000 NOK & above:
- Listing as sponsor on worldwidekitsch.com. - 10 catalogues.

5.000 NO K & above:
- Listing as sponsor on worldwidekitsch.com. - 5 catalogues.

If you would like more information on becoming a sponsor, or would like to make a donation, please contact WorldWideKitsch.


We welcome you to attend The Kitsch Biennale 2010 in Venice!

Kitsch Biennale 2010 official blog, available in English and Italiano.


WorldWideKitsch
E-mail: desk@worldwidekitsch.com
Tel: +47 97753550 (Helene Knoop) www.heleneknoop.com
Tel: +47 90059179 ( Jan-Ove Tuv)
http://www.janovetuv.com/


Sun Yachting Navigare A/S
www.sunyachting.no
Tel: +47 64988770 (Frode Borge)
E-mail:
frode@sunyachting.no


Appendix: Why “kitsch”?
In the mid 18th century, the values of the modern art concept
were established:
• Pathos and intimacy were replaced by “aesthetical indifference”.
• Reflecting one’s time became paramount.
• Originality became an unconditional good.
Disobedient painters were derided as “kitsch”.


In 1996, however, Odd Nerdrum discovered the potential in “kitsch”.
According to the positive view of kitsch:
• The eternal perspective is preferable to a contemporary, limited horizon.
• A “sentimental” or “pathetic” image is no cause of shame (unless badly painted…).
• Quality is more important than originality.
Kitsch represents a return to craft and narrative without irony.