May 5 2009 3 05 /05 /May /2009 11:56
Internet changed the deal. Not its use: leaving aside for a while the Pope Milton Manetas and his Neen artists cardinals. No, Internet changed the way you look art. So, let’s cleansed the doors of perception that every thing appears to use as it is: infinite.
We are not talking about the works, sometimes fascinating, sometimes simple, living by Internet. We won’t talk about too the main mean that Internet represents for the search of raw materials for artists, using it with talent (Steven Shearer) or with what they can do (Ida Tursic & Wilfried Mille). So yes, Internet already changed a lot of things concerning the way you make art, even on its capacity to open a door to numerous budding artists and/or needing recognition…it’s the same for every form of creation: singers, actors, writers, cooks or else, all kind of bloggers. But Internet particularly changed the way you look into art, allowing you to see everything. Big Brother, are you here? We become omniscient, virtually real spectators.
62 years ago, a little man understood and told, in his Imaginary Museum, that photography will open access to thousands of works, internationally, mobile and distributed through books. What would he think about Internet? Would he be able to imagine it? Now, we can see works worldwide, even before the exhibition open sometimes. Our advice: go and look at the Hardcore Zombie Project by Bruce Labruce at www.peresprojects.com. We can cross an exhibition thanks to “virtual visits” without moving. Our advice: visit Phantom Studies by Lori Hersberger at www.mac-lyon.com. You can see art videos and performances of all kind and permanently. Our advice: look at the absolute king and absolutely fascinating website www.ubu.com, and begin by looking at the videos Selected Works (1970-71) by Bas Jan Ader. Worst: you can even buy a work, without seeing it “in real life”… (Ah, Internet excesses: where is parental control?). Our advice: don’t do it.
We are not here to judge of the progress Internet represents, obviously. We evolved since the Workers leaving the Lumiere Factory. All the excesses and drifts, including the ones concerning art dangerous field, have to be banned (well, only the ones which are not constructive experience). Internet is a gift for all those are not happy billionaires art collectors, jet-lag terrorists, going to Tokyo MOT, to see the… sound exhibition by Kyoji Ikeda, just for fun. Internet is so great that you don’t want to go out anymore and believe you can see everything. Well, the problem is you cannot understand Claude Lévêque without feeling his brilliant installations, perceive the outrageousness of an empty piece by Martin Creed, touch the elegance of paintings by Jonathan Meese. Art has to be lived (because art is life), deeply felt, physically. There is the same difference between a disc and a show. But art is only created for concert… and we do caps, live cds. Except from the Neen sect, all the works have to be seen (visual arts?) in their materiality, face to face with immateriality. Yeah, yeah… even photographs, and videos. Simply because the context changes the work: A piece by Thomas Ruff at the museum, on your screen, or above your couch, we swear, it’s certainly not the same thing….
So, last advice: instead of reading useless things on art on the web, stand up and go visit an exhibition!
* for the non-geeks, or the youngest readers, Arpanet is the ancestor of Internet… case made.
[Pictures : above, Martin Creed, Work No. 850, 2008. Courtesy: Martin Creed, The Duveen Galleries Commission, Tate Britain. En bas : Thomas Ruff, Nudes ru05, 2000. Laserchrome and diasec, 150 x 110 cm. Edition of 5. Courtesy: Thomas Ruff & David Zwirner Gallery, New York]