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Acquaintance with Instability Issues/不稳定交叠

- by Kasper Hesselbjerg

Once during a conversation with Kasper, he considered what kind of political efficiency it is that we look for and believe in within art practice today. A couple of days later he quoted this line: "If art has effects on society, it is not because its experience would constitute something like a universal subjectivity but because the experiencing subject is potentially confronted with its own social and cultural assumptions", taken from Juliane Rebentisch’s writing. Instead of believing in an art that acts politically via its signification, he would rather regard art as the production of difference.


What is art’s claim to the production of difference? Art is considered to be different from perceptual/social norms, setting internal structures and producing its own norms. And yet, art also struggles in being different, it is simultaneously considered not to be different from the norm, insofar as it has to situate itself within empirical reality as a part of the social, in fulfilling its universality. It is because of art’s singularity that it struggles to be normalized. As a result of these contradictions art achieves a self-awareness through which we can endorse the presence of self-experience and cognition as the basis for our politics. The self-awareness is demonstrated by an understanding that the images art produces act as a correlate of the real that is supposedly free from the law of science and that embodies indeterminacy and contingency.


Kasper’s practice considers this phenomenon of indeterminacy; here aesthetic experience occurs when self-awareness is gathered from the form-content and cannot be directly integrated with hegemonic academic knowledge. He is dedicated to building a bridge between the construction of the subject and the creation of meaning and value. For Kasper, this “construction” can be seen as a practice of freedom. The implications for the operation of subjectivities and, in particular, the nature of aesthetic experience are addressed, and the distinction between the perception of visual forms and their cognitive interpretations are present throughout this exhibition. The works also invite the viewer to entertain objects attached to diverse cultural contexts, the ones that each of us comes from, the ones that we live in and the ones that we will encounter. To entertain objects that might be attached to a place or a kind of inertia and its daily experience, an experience that might not correspond to scientific or positivistic knowledge.  Also to deliberate objects that might manifest in a work of art, in which the form and content can appear in the realm of art, leading us towards an aesthetic experience.

在和Kasper的一次聊天中,他对艺术家在今天的艺术实践中寻找或相信怎样的政治有效性有所考虑。几天后他写邮件给我,其中摘录了Juliane Rebentisch的一段文字:“如果艺术对社会有所影响,这并不是因为它的经验构成了一种普遍的主体性而是每个经验主体潜在地面临着对它自己社会和文化的假设。”与其相信艺术在政治层面扮演某种重要意义,Kasper更愿意把艺术看做是种差异性生产。





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