Documentation of Aki and Winnie (curator) discussing Aki's works and current events. You can view the live recorded video on the JBS page or down below!2
Aki and Winnie will be livestreaming their work desk weekly, Monday-Tuesday, 3PM-6PM.
- On Claire Bishop's Artificial Hells
--> Open, interactive, and inconclusive, the work is not like a complete object but more like a "work in progress."
--> Such a work seems to have emerged from a creative misreading of post-structuralist theory, rather than a continuous reinterpretation of an artwork, the artwork itself should be in an endless wave.
--> There are many problems with this concept, especially in a state of deliberately unstable work, it is difficult to consider the identity of a work. Another problem is that the "lab" can easily become a marketable leisure and entertainment venue. One might argue that in this context, the project-based development plan and artist entry plan began to coincide with an “experience economy”.
--> The market strategy of the "experience economy" is to look for the replacement of goods and services with personal experiences that are written and set up.
--> However, no one can tell what the audience can get from this creative experience that essentially installs activities at work.
AComplete notes between Winnie (curator) & Aki (AIR)
Claire Bishop's Artificial Hells
开放性的、互动的、无结果的，作品不像一个完整的物品更像“进程中的作品”。如此的作品似乎是从一种对后结构主义理论的创意误读中潜生而来的，而不是对一件艺术作品持续重新斟酌的解读，艺术作品本身应是处于无止境的激浪当中。这个理念存在很多的问题，特别是在一个故意不稳定作品状态下，考虑一个作品身份的困难。更一个问题就是， “实验室”很容易就成为一个可营销的休闲和娱乐的场所。有人可能就会争论到，在这种语境下，基于项目的发展中的计划和艺术家进驻计划开始与一种“体验经济”相吻合。“体验经济”的市场策略是，寻找用编写和设置好的个人体验来取代商品和服务。然而，没人能说清受众可以从这种，本质上把工作时活动装置化的创造体验中得到什么。
The complicated play of identificatory and dis-identificatory mechanisms at work in the
content, construction, and location of the Bataille Monument were radically and disruptively thought-provoking:
Thecomplicated play of identificatory and dis-identificatory mechanisms at work in the content, construction, and location of the Bataille Monument were radically and disruptively thought-provoking: The independent stance that Hirschhorn asserts in his work—though produced
collaboratively, his art is the product of a single artist’s vision—implies the readmit-
tance of a degree of autonomy to art. Likewise, the viewer is no longer coerced
into fulfilling the artist’s interactive requirements, but is presupposed as a subject
of independent thought, which is the essential prerequisite for political action:
“having reflections and critical thoughts is to get active, posing questions is to
come to life.”63 The Bataille Monument shows that installation and performance art
now find themselves at a significant distance from the historic avant-garde calls to
collapse art and life.
“As the social is penetrated by negativity—that is, by antagonism—it does not attain the status
of transparency, of full presence, and the objectivity of its identities is permanently subverted. From
here onward, the impossible relation between objectivity and negativity has become constitutive of the
social” (Laclau and Mouffe, Hegemony, p. 129).
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