osborne in WHW 2016
so much with cultural memory and remembrance
as a form of recollection or testimony that might lend political legitimation
to artistic gestures; rather, it engages with history as a construction and
speculative proposition about the future, as Peter Osborne argues in his
polemical hypotheses on the notion of contemporary art that distinguishes
between “contemporary” and “present-day” art: “History is not just a relationship between the present and the past – it is equally about the future.
the culture industry adapts itself to the limited success of measures that are geared toward
preventing the free circulation of information by creating new strategies
for pushing information into a form of property and expropriating value
Peter Osborne, Anywhere or Not at All: Philosophy of Contemporary Art, Verso, London
and New York, 2013, p. 194.
What, How & for Whom / WHW
Marcell Mars, Art as Infrastructure: Public Library, installation
view, Really Useful Knowledge, curated by
exist, rendering this interdependence not as some consensual idyll of cooperation but as conflicting fields that create further information and experiences. By doing so, they question the traditional edifice of art in a way
that supports Peter Osborne’s claim that art is defined not by its aesthetic
or medium-based status, but by its poetics: “Postconceptual art articulates a post-aesthetic poetics.”22 This means going beyond criticality and
bringing into the world something defined not by its opposition to the real,
but by its creation of the fiction of a shared present, which, for Osborne,
is what makes art truly contemporary. And if projects like these become a
kind of political trophy for art institutions, the side the institutions choose
nevertheless affects the common sense of our future.
Osborne, Anywhere or Not at All, p. 3
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