LLLL ART AGENCY
AT
RAKE CONSTANT DECAY
TRONDHEIM NORWAY 11.10.2013
CONVERSATION AS ART
DINNER AS ART, 11
http://kitchendialogues.com
>
Martinka and Oscar, artists and hosts. Four bright and smart students from NTNU. Øyvind and his two lovely teenage daughters. LLLL Art Agency
Upon arrival we have quick conversations with everyone. The test. The mood checkout, excellent. Oscar moves fast in the kitchen while martinka throws her charm. At the table the generous wine brought by the students opens a delicious mood. As we eat the salad we talk about the roads, the weather and the inmigration, commonplaces. With some wine and the main dish we talk with the students about possible tv shows we can make. In the dessert we talk about art, about us being part of the artpiece, being the spectators of our own play, where the artist direct a scenography where each one plays his own rol. To play a rol is charming, since you have to give and listen, be active and patient. The contextual relational pieces always demands an extra effort in the audience.
To play with context is a crispy idea in art, we do not have to talk about dada. Dada speaks alone. Dieter Roth knew about this. Daniel Spoerri knew about this. Rirkrit Tiravanija knew about this and Antonio Miralda knows pretty well about this.
We know as well, since we love the brightness of the contemporarity and the references to some masters of context symphonies. We loved to meet all the guests and to be able to talk and develop certain intimacy with the artists after dinner, chilling at a couch and by the fire. Thats the ultimate goal of the piece, to generat the confort zone that enables us to make a further step.
So, there is the context frame, Rake, the sub frame, The Kitchen Dialogues, and our own frame, the upcoming FROZEN HEAT SERIES.
At the back entrance we look into the mirror. Self reflection upon rival, we welcome ourselves to the decay. We take some shots of us as part of the decay mood. We came around again to have dinner. We enjoy the idea of spending some time chatting with strangers. Upon the arrival we can feel the programers are delivering new ideas to the building. The fireplace at the entrance lobby space gives a feeling of intense cozyness, and the wooden bench works as perfect usable installation. Some spaces are receiving a generous by-pass by ART. We actually came to have dinner with strangers. To have dinner as art, and yes, we had great dinner. > kitchen dialogues –http://kitchendialogues.com/
site
context
old fabrics
mood process
curatorial
decay
art
KITCHEN DIALOGUES / RAKE CONSTANT DECAY 2013
WE LOVE THE EXCELLENCE OF THE FOOD
AND
THE SWEET ENVIRONMENT
YET ANOTHER TIME
THE DECAY HAS WORKED OUT FOR US
WE CAME WEEK AFTER WEEK
TO ENJOY THE ART
TO SIT BY THE FIRE AND HAVE SOME WINE
AND
TO TALK TO STRANGERS WHILE WE EAT
RELATED VITAMIN 034 (I/-)
La diferencia entre los artistas que producen obras a partir de objetos ya producidos y los que actúan ex nihilo es la que percibía Karl Marx en La ideología alemana entre "los instrumentos de producción naturales" (el trabajo de la tierra, por ejemplo) y "los instrumentos de producción creados por la civilización". En el primer caso, prosigue Marx, los individuos están subordinados a la naturaleza. En el segundo caso, están en relación con un "producto del trabajo", es decir, con el capital, mezcla de labor acumulada e instrumentos de producción. Entonces "no se mantienen unidos sino por el intercambio", un comercio interhumano encarnado por un tercer término, el dinero. El arte del siglo veinte se desarrolla siguiendo un esquema análogo; la Revolución Industrial hace sentir sus efectos pero con retraso. Cuando Marcel Duchamp expone en 1914 un portabotellas y utiliza como "instrumento de producción" un objeto fabricado en serie, traslada a la esfera del arte el proceso capitalista de producción (trabajar a partir del trabajo acumulado) basando el papel del artista en el mundo de los intercambios: se emparenta de pronto con el comerciante cuyo trabajo consiste en desplazar un producto de un sitio a otro.
El uso de las formas
Nicholas Bourriaud
