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。

 

而今天艺术又对差异的生产提出怎样的要求?艺术被认为不同于知觉的、社会的规范标准,它建立自身的内部结构并且创造其自己的规范标准。然而,它也在纠结这种“不同”,艺术同时也被认为不应该不同于规范标准,这样它必须要作为社会的一部分而把自己置于经验主义的现实当中,以践行它的普遍性。正是因为艺术具有这样的独特性,它才纠结于被规范化。而这些矛盾的结果是,艺术带有某种自我意识,而在这里面我们承认或已默认自我经验和认知的存在是我们政治性的基础。这种自我意识通过理解艺术所生产的作为“真实”的相关物的图像被证明,而“真实”概念大概可以被理解为是不受科学真理局限并与不确定性和偶然性共存的。

 

Kasper的艺术实践关注当从形式内容中获得的自我意识不能直接与主导的理论知识相结合时,美学经验产生的不确定性现象。他致力于在主体构建与意义以及价值创造之间建立起相关联系。对Kasper来说,这种“构建”正是一种对自主和自我管理的实践。本次展览相对开放地探讨了主体性的介入的结果,美学经验的本质意义在其中不断地被提及,对视觉形式的洞察力与认知能力的差异性也被呈现出来。同时,这些作品也邀请观者去思考各种文化语境下的物品,那些来自我们每个人的生活或那些我们有可能会遭遇的等等物品。使观众思考那些可能附着在某个地方或某种惯性上的物品及其日常经验,一种可能并不统一于科学的或实证主义知识的经验。也许它还邀请观者去思考这些物品是如何在艺术作品中证明其自身意义的,那些可以在艺术的讨论中出现并具有意义的形式和内容,它们也在不断刺激着我们对美学的体验。

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Institute for Provocation

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CHINA

 

激发研究所

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