Therefore, for years, i have cherished the idea of remaking the exhibition!" The project elaborates the so-called tactical position of the artist who conceals his own identity, putting into question some fundamental arguments concerning modernism. With the virtualities of the paradoxical logic which appertain to the videogram, hologram or digital imagery, these art projects are in fact questioning the comfortableness with the reality of the formal logic of traditional pictorial representation. 24 At the very moment in which postmodernism proclaims the "death of the author" and the rise of anti-auratic art in the public realm, the art market becomes ever more conscious of the monopoly power of the artist's signature and of the questions of authenticity. 25 Within the metaphors and fictions of postmodern discourse, much is at stake, as electronic technology seems to rise, unbidden, to pose a set of crucial ontological questions regarding the status essay and power of the human being. It has fallen to science fiction to repeatedly narrate a new subject that can somehow directly interface with - and master - the cybernetic technologies of the Information Age, an era in which, as jean baudrillard observed, the subject has become a "terminal of multiple. We are only saying that we have formulated our ideas of the subject wrongly. Mathematics, calculating as a part of thinking, has nothing to do with the foundation of the subject. The subject is found in something else. This is not the disappearance of the subject as we find in a post-structural theory; it is a disappearance of the historical definition of the subject.
20 With paradoxical logic, what gets decisively resolved is the reality of the object's real-time presence. In the previous age of dialectical logic, it was only the delayed-time presence, the presence of the past, that lastingly impressed plate and film. The paradoxical image thus acquires a status something akin to surprise, or more precisely, of an "accidental transfer." 21 we are discussing the salon here add and now, thanks to several projects in the 1980's which took place in Ljubljana, known to the public only. " The lecture purportedly given by walter Benjamin in 1986 entitled, "Mondrian '63-'96." 22 These projects elaborated the so-called tactical position of the artist who conceals his own identity and the strategies not only of postmodern art, but also of the post-socialist condition of art. With Virilio, we can say that "paradoxical logic emerges when the real-time image dominates the thing represented, real time subsequently prevailing over real space, virtuality dominating actuality and turning the very concept of reality on its head." 23 The "Last Futurist Exhibition for example, publicly. Petersburg in the winter of 1915-16. In a letter published in September 1986 in Art in America, the same malevich (with the prescript Belgrade, yugoslavia) rejoiced : ".I could not even dream that a photograph of that installation would become so famous. I have the feeling that the photograph of the "Last Futurist Exhibition.10 (zero-ten. Petersburg in 1915-16 has become even more important than my suprematist paintings.
In the face of the type of representational dilemma the salon de Fleurus embodies, the philosophical questions of plausability and implausability override those concerning the true and the false. The shift of interest from the thing to its image, and especially from space to time, leads to a shift from the old black-and-white, real figurative dichotomy to the more relative actual-virtual. 16 "In two hundred years, the philosophical and scientific debate itself has thus shifted from the question of the objectivity of mental images to the question of their reality. The problem, therefore, no longer has much to do with the mental images of consciousness alone. It is now essentially concerned with the instrumental virtual images of science and their paradoxical facticity." 17, furthermore, this is one of the most crucial aspects of the development of the new technologies of digital imagery and of synthetic vision offered by electron optics: the. 18, the age of the formal logic of the image, blossoming in the 18th century, was the age of painting, engraving, etching and architecture. The age of dialectical logic is the age of photography and film, if you like, in the frame of the 19th century, where the actuality of the dialectical logic governs photographic and cinematic representation. 19 The age of paradoxical logic begins with the invention of video-recording, holography and computer graphics. As though, at the close of the 20th century, the end of modernity were itself marked by the end of a logic of public representation.
Thinking Outside the box: a misguided Idea
And if "actions" are now invisible, then our fates are likewise beyond our grasp. We no longer feel that we penetrate the future; the future penetrates. 14, master by constantly returning to the beginning, we halt the possibility of reaching the end. What do we obtain by abolishing differences between the past and future, when everything suddenly becomes the present, and time attempts to halt itself within a closed narrative form? In such a case, the copy signifier machine which produces the meaning is in opposition to the rational and scientific (hi)story about progress and instead, favourable toward an a-modern approach to progress and history (Bruno latour, donna haraway).
This supports the nonlinear historical view, that with a codified beginning, enlightenment and end. Salon de Fleurus is not a part of the world where rainy we have become what we are. It probably proclaims or represents a part of another world which may not be seen as yet, but which the salon lets us feel. We are witness to "the decisive end of the present period of art, when an old system (which could be a new one under altered circumstances) is returning to art. (.) The three tenses of decisive action: past, present and future, have been surreptitiously replaced by two tenses: real time and delayed time, the future having meanwhile disappeared via computer programming and, on the other hand, in the corruption of this so-called "real" time which. But aren't they interconnected?
Toklas, with whom she lived for almost 25 years, or vice versa; primarily she reveals the history of modern art through deliberation, conversation and the sometimes infantile observations of Alice. The autobiography describes the heroic times of cubism, the life of the lost generation (Hemingway and the rest as Gertrude Stein termed them and the beginning of modern art through anecdotes and aphorisms with an abundance of details that transposed history to a mythological narrative. By imitating the style of Alice. Toklas, Stein builds a mythological presentation of her own self and narrative style worthy of the pulp fiction of the 1890s. Stein discussed the history of modern art in terms as these, as she remarks towards the end of her Autobiography, in the same way defoe wrote the autobiography of Robinson Crusoe. This literary game, which Stein reveals to the reader in the last paragraph of the book, could be the consequence of Stein's love for detective novels and also for superb, subtle mimicry.
Incidentally, the responses to autobiography were quite predictable: Hemingway "thanked" her for her recollections with the following verse: "a bitch is a bitch is a bitch is a bitch.". The time which we are attempting to clarify at the salon de Fleurus is circular, not linear,. E., with a beginning, middle and end. It is similar to cubism, which interpreted time as being synchronised, and combined the past and future in the present. By abolishing the differences between the past and future, everything becomes the present; the myth is therefore not transferred from generation to generation. Gone, more importantly, is any sustained sense of the autonomy, in space and time, of gross and visible individual human actions.
Finally, we can ask ourselves: what was the period like, or who was Gertrude Stein? Nevertheless, there is no sense in recapitulating the biography of Gertrude Stein, given the fact that in the world until now, there have been numerous more or less salacious details of Gertrude's life story already published. One fact of even more significance (as confirmed by the salon de Fleurus) is that Stein did not only create one of the best collections of modern art, and materially and spiritually directly support the whole pleiad of avant-garde artists, but she established a format. She actually presented this history as a legend with herself as simultaneous heroine needed and legend. 13, the book by gertrude Stein entitled, "The autobiography of Alice. Toklas published in 1933, definitively established Gertrude Stein as a literary star, and is paradigmatic for her work and life, as well as for the paintings from the salon de Fleurus. (After all, isn't the initial slogan in the title of each painting "From the autobiography of Alice. Toklas"?) In that book, which she began to write with the encouragement of a publisher in the autumn of 1932, Stein presents her life together with Alice.
Photographs, particular objects (eg., a clock, a chair and events (eg., the playing of a piece of music) become the focus of contemplative memory and hence, a generator of a sense of self that lies outside the sensory overload of consumerist culture and fashion. "The apartment is furnished with antique furniture and paintings. Carpets cover the floors, and old, decorative curtains hang on the windows. The music that pervades the dwelling is French popular music from the 1920's and 30's played on an old radio, also of the period.". And there is also the question of the exhibition in a private apartment. Whereas modernism looked upon space as "an epiphenomenon of social functions postmodernism "tends to disengage urban space from its dependence on functions, and to see it as an autonomous formal system" incorporating "rhetorical and artistic strategies, which are independent of any simple historical determinism.". From this standpoint, we have to accept the argument that postmodern fiction is mimetic of something, much as that the emphasis upon ephemerality, collage, fragmentation, and dispersal in philosophical and social thought mimics the conditions of flexible accumulation. But it is exactly at this point that we encounter the opposite reaction that can best be summed up as the search for personal or collective identity. Place-identity that implodes in upon us, because everyone occupies a space of individuation (a body, a room, a home)." 12, the fact that paintings are made from photographs, and not vice versa (at the time resume when computer processing makes it possible to produce even more.
period. Thus the salon continuously regenerates and transforms itself at the same time.". The paintings in the salon can be compared to the pre-rennaisance icons which, instead of mythologising the antique or Judeo-christian world, now do so with a crucial pre-modern period. Kim levin described the salon de Fleurus in her article: " When systems collapse, freak events such as these rise up through the cracks and as she states, "this is more than purely a simulation - it involves a magical realism." 6, spaces of very. We can interpret the project in two ways. Firstly, making reference to the concept of david Harvey's time-space compression 7, a term used to signal processes that so revolutionise the objective qualities of space and time, that we are forced to alter, sometimes in quite radical ways, how we represent the world. We have been experiencing, these two last decades, an intense phase of time-space compression that has had a disorienting and disruptive impact upon political-economic practices, and the balance of class power, as well as upon cultural and social life. 8, the time-space compression is the exact term to compress the time-space condition of the today "virtual" Gertrude Stein, taken to traverse the space and time of approximately 90 years. The greater the ephemerality, the deeper the questions of meaning and interpretation that arise.
The paintings are discreetly lit by table-lamps and candles. The music that pervades the dwelling is French popular music from the 1920's and 30's played on an old radio, also of the period. All the paintings exhibited in the salon are in ochre hues, painted on wood and emphasised stylistically with extraordinarily incongruous frames. Thematically they wallpaper refer to paintings from the collection of leo and Gertrude Stein, chiefly from the period 1905-13, and to the collection itself as a complex artefact and integrally pulsating system. and paintings depicting the collection originating from black and white photographs. We are witnesses here to an exact painted facsimile of a particular era which has much to do with life, history, fiction and art. We also see the exaggerated iconic duality which borders on "kitsch while the cubist paintings are transposed to our present time in the manner of Russian icons. Their painting technique is clearly amateur with the emphasised disharmony of the "Rococo" frames. But rather than label this as an attempt to copy original paintings as producing "fakes using photographic records of the period and reproductions of the originals, we can talk here about the attempt to rearrange and reinterpret the system of art from the turn.
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"Experience may also essay be re-consructed, re-membered, re-articulated. One powerful means of doing so is the reading and re-reading of fiction in such a way as to create the effect of having access to another's life and consciousness, whether that other is an individual or a collective person within the lifetime called history.". 4, salon de Fleurus is a staged repeat presentation of one of the most significant collections of modern art from the turn of this century, which was created by the American author and literary critic Gertrude Stein (1874-1946 a jew of German descent, with the. We may only relate and describe the actual appearance of the new York salon because the artist or artists who wish to remain anonymous do not permit photographs to be taken upon the premises. 5, salon de Fleurus is found in a private apartment in New York of two rooms connected by an oval atrium. The apartment is furnished with antique furniture and paintings. Carpets cover the floors, and old, decorative curtains hang over the windows.