art as a rewriting program
TRANSCRIPT
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Art as a Rewriting Program
Peter Weibel ZKM | Center for Art and Media Karlsruhe
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What is the problem ?
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"Artists of all times are like the gamblers of Monte Carlo, and thisblind lottery allows some to succeed and ruins others. In myopinion neither the winners nor the losers are worth worryingabout. It's a good personal deal for the winner and a bad one forthe loser. And even posterity is a real bitch who cheats some,reinstates others (El Greco), and is also free to change its mindevery 50 years."
Marcel Duchamp, 1952
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Braco Dimitrijevic, solo exhibition at the Albert Baronian gallery, Brussels 1989
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A history about twoartists (1969)
In a time, long long ago,there lived, far from thevillages and towns, twopainters.One day, the king, whowas hunting in theforests nearby, lost hisdog. He found him inthe garden of one of thepainters. When helooked at the painter‘swork, he decided tobring him to his royalcourt. The artist‘s namewas Leonardo da Vinci.The other artist‘s namewas forgotten foreverand all times.B.D.
Braco Dimitrijevic, Dialectic Chapel, Leonardo – Hundic, Venice Biennale 1976
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Leonardo da Vinci,The Vitruvian Man,c. 1485
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2. For the human body is so designed by nature that the face, from thechin to the top of the forehead and the lowest roots of the hair, is atenth part of the whole height; the open hand from the wrist to the tipof the middle finger is just the same; the head from the chin to thecrown is an eighth, and with the neck and shoulder from the top of thebreast to the lowest roots of the hair is a sixth; from the middle ofthe breast to the summit of the crown is a fourth. If we take the heightof the face itself, the distance from the bottom of the chin to theunder side of the nostrils is one third of it; the nose from the underside of the nostrils to a line between the eyebrows is the same; fromthere to the lowest roots of the hair is also a third, comprising theforehead. The length of the foot is one sixth of the height of the body;of the forearm, one fourth; and the breadth of the breast is also onefourth. The other members, too, have their own symmetrical proportions,and it was by employing them that the famous painters and sculptors ofantiquity attained to great and endless renown.
3. Similarly, in the members of a temple there ought to be the greatestharmony in the symmetrical relations of the different parts to thegeneral magnitude of the whole. Then again, in the human body thecentral point is naturally the navel. For if a man be placed flat on hisback, with his hands and feet extended, and a pair of compasses centredat his navel, the fingers and toes of his two hands and feet will touchthe circumference of a circle described therefrom. And just as the humanbody yields a circular outline, so too a square figure may be found fromit. For if we measure the distance from the soles of the feet to the topof the head, and then apply that measure to the outstretched arms, thebreadth will be found to be the same as the height, as in the case ofplane surfaces which are perfectly square.
Vitruvius, The ten books on Architecture, written arount 50BC
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Marcel Duchamp alias Richard Mutt, Urinal, 1917
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Morton Schamberg andBaroness Elsa von Freytag-Lothringhoven, God, 1917
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Pablo Picasso, The glas of absinth, 1914
Meret Oppenheim, Fur Breakfast, 1936
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Paul Thek, Decorations for a tree, wire and across, also knownas: The procession/Easter in a pear tree, 1969
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Robert Gober, Untitled, 1999
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Jean Cocteau, The Blood of a Poet, 1930
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Robert Gober, Untitled, 1991
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Rudolf Schwarzkogler, Action, Vienna May 1965
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Rudolf Schwarzkogler, Action, Vienna May 1965
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Lucio Fontana, Concetto spaziale, 1960
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Günter Brus, der helle wahnsinn [the pure madness], Aachen, Germany, 1968
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Günter Brus, der helle wahnsinn [the pure madness], Aachen, Germany, 1968
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Hermann Nitsch, actions, Vienna, 1964 and 1965
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Valie Export and Peter Weibel, Tappund Tastkino [Tap and touch cinema],November 14, 1968
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Valie Export, Smartexport, 1970
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Antique Amish Quilt, c. 1905Daniel Buren, c. 1965
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Antique Amish Quilt, c. 1910
Daniel Buren, Peinture, 1965-68,
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Antique Amish Quilt, 2nd half of 19th Century
Victor Vasarely, AMBIGU-B, 1970
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Josef Albers, Hommage to the Square, c. 1960/1965
Antique Amish Quilts, Above: c. 1880Right: 1935
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Ernst Mach, Photographs of a flying bullet, 1887
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Giacomo Balla,Lantern with Arcs, 1909
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Giacomo Balla, Study of a flying swallow, 1913
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Kenneth NolandDrive, 1964
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Mach Bands are created where two different, steep gradients of strong light meet.
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Mark Rothko, Nr. 18, 1952 Conditions for contrast and comparisons:the actual color of the twoInterior squares is exactly the same.
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Hiroshima and Nagasaki, Japan
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The victims of Hiroshima andNagasaki
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Kazuo Shiraga, Fighting with Mud,performance, Tokyo, Oktober 1955
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Traces of men inHiroshimaand Nagasaki
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Yves Klein, Anthropometrie 45, 1962, positive und negative
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Yves Klein, Untitled, 1961, fire color image
Yves Klein, producing a fire color image, Centre d’essai de Gaz deFrance, Saint Denis, July 1961
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Yves Klein, Hiroshima, 1961
Anthropometrie-performance inRobert Godet‘s apartment,Paris, June 5, 1958.
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Sigmund Freud‘s office.In the foreground, left the couch. For more than fifty years, up to his forced exile from Vienna in 1938, patients and disciples from all the world made the pilgrimage to Berggasse 19 to visit the father of psycholo-analysis, while the University of Vienna refused him a professorship throughout his life.
„Freud‘s faithful Pearl“,in the German magazineThe Star, 1985
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Possible Solutions
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Pierre Huyghe, L‘Ellipse,1998, 3-channel-video
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Pierre Huyghe, The Third Memory,1999, video installation
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Felix Gmelin, Farbtest, Die RoteFahne II [Color Test: The red flagII], 2002, video installation
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Jeremy Deller, The Battle ofOrgreave, 2002, film
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Omer Fast, Spielberg’s List, 2003,video installation
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Irina Botea, Auditions for a revolution,2006, video installation
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Peter Weibel, Zeit-Schaufenster [Time-show window], Graz, Austria, 1979
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Peter Weibel, reconstruction of„stoppages-étalon“ (1913/14) by marcel duchamp,1970
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Peter Weibel,Reconstruction,spatial exhibitions, 1970
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Peter Weibel, Mise-en-sceneof Art History, 1988/89
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This is no image of an original
W.The Last Painter
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Assault, Berlin, 1971
Marcel RutschkeAllegories of Disgust
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Marcel Rutschke, The Dialectical Deposit, AustrianMuseum of Applied Arts, Vienna, 1988
Marcel Rutschke, NationalMoney Day: each person hasfree access to each bankaccount, Sydney, Revolution,1977
Marcel Rutschke,Verse &Reason II (Time Blood),Stichting de Appel,Amsterdam, 1978
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Marcel Rutschke,Article I – Basic Law,National Gallery, Berlin, 1975
Marcel Rutschke,Trampling on Law,Government Building, Bonn, 1968
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Marcel Rutschke, The Coronation of the People’s Body through DemocraticVigilants, Austrian Museum of Applied Arts, Vienna, 1988, detail
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Marcel Rutschke, The Coronation of the People’s Body through DemocraticVigilants, Austrian Museum of Applied Arts, Vienna, 1988, detail
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Otto W. Schimanovich
Models and Metaphors,Chips and Codesof the Room
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Otto W. Schimanovich, Exhibition spaceexhibited as readymades, Vienna, 1971
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left: The New School designed by Joseph Urban as a chest of drawers, plywood, 1988right: The New School designed by Joseph Urban, 1930
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F. L. Wright’s Guggenheim Museum as a bar, plywood, 1987
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Otto W. Schimanovich, Object picture for public architecture, Austrian Museum ofApplied Arts, Vienna, 1988
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Otto W. Schimanovich, Sculpture in public space, model, 1984
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From the series “CommodityObjects“, silver-plated wallet,1986
Louise Langford
Terrain of Terror – Signs of theReal
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LouiseLangford
left above:Cupboard,1905
left below:Church bank,Florence, 2nd
half of the 16th
century, walnut
right above:7 parts of afurnished diningroom, 1906
right below:Sideboard, 2nd
half of 16th
century, walnut
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Louise Langford,Uncovered fresco “TheSocial Life of Logos”,church in NewEngland, 1988
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Cesare Carlo Capo
Industrial Elegies
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Cesare CarloCapo,The Wheel ofthe Real,Museum ofApplied Arts,Vienna, 1988
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Video Lumina, Gallery Magers, Bonn, 1977
Jan van Buygens
The Cognition of the Gaze
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Jan van Buygens,The Crucifixion of Identity,Graz, Austria 1973
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Jan van Buygens
left: Observation of anObservation: Uncertainty,Graz, Austria 1973
right: Mirror Check, Munich,Germany 1978
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Ctrl Space - Rhetorics of Surveillance from Bentham to Big BrotherIconoclash - Beyond the Image Wars in Science, Religion,and ArtMaking Things Public - Atmospheres of Democracy
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YOUtopia
YOU_ser: The Century of theConsumer
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„All in all, the creative act is not performed by the artist alone; thespectator brings the work in contact with the external world bydeciphering and interpreting its inner qualification and thus addshis contribution to the creative act..”
Marcel Duchamp, “Session on the Creative Act”, April 1957
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MarcelDuchamp, Tobe looked atwith one eye,close to, foralmost an hour,1918
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ConstantinBrancusi,Stool, c. 1920
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Niki de Saint Phalle in the exhibition Feu à volonté, Paris 1961
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Piero Manzoni, Magic Base, 1961
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Franz Erhard Walther, Walking ona limited area (plinth form), 1964
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Franz Erhard Walther, Base, Four compounds, 1968
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Erwin Wurm, The breaking through of an artist, 2003
Erwin Wurm‘sinstructions for use forthe observer:
„Obey the instructionsof use and stay in thispositiion for one minute“
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Nam June Paik, Participation TV, 1963
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Nam June Paik, Random Access, 1963
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Peter Weibel/Matthias Gommel, FLICK_KA, 2007
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Peter Weibel/Matthias Gommel, FLICK_KA, 2007
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Bernd Lintermann/Joachim Böttger/Torsten Belschner, Globorama, 2005–2007
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Marc Lee, Breaking The News – Be a News-Jockey, 2007
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Ronald Genswaider, evolvr, 2007, interactive net-based installation
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PIPS:lab, Luma2solator, 2004, interactive user installation
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Armin Linke, Phenotypes/Limited Forms, 2007
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The Slateliterates, ZKM_YOUniverse, 2007
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Homer ?
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Shakespeare ?
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Axel Thue, Probleme über Veränderungen von Zeichenreihen nach gegebenenRegeln, originally published 1914
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Axel Thue, tree structure, in: Probleme über Veränderungen von Zeichenreihen nachgegebenen Regeln, originally published 1914
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Axel Thue, ramification of abcdef, in: Probleme über Veränderungen von Zeichenreihennach gegebenen Regeln, originally published 1914
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Example of an L-System by Aristid Lindenmayer, 1968
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Example of an L-System by Aristid Lindenmayer, 1968
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Example of an L-System by Aristid Lindenmayer, 1968
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„Ring of the bell“ does not describethe bell any more but the food.
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Counterparts-------- = in the front / in the back-- -- -- = high / low- - - - - = rounded / non-rounded
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The emancipated consumer as artist
The visitor as user
The algorithmic revolution
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THANK YOU:
PLEASE REWRITE ME!