Nella pratica artistica contemporanea alla collaborazione viene attribuito un significato progressivo, dove la funzione dell’autore diviene sempre più superflua. In tale prospettiva, tuttavia, si offusca non solo l’autorialità ma anche la responsabilità ed è a questa deriva-rischio che i sette artisti intendono eccepire.
- Luogo: OSTRAKON GALLERIA
- Indirizzo: Via Pastrengo 15 - Milano - Lombardia
- Quando: dal 11/06/2015 - al 27/06/2015
- Vernissage: 11/06/2015 ore 15
- Generi: arte contemporanea, collettiva
- Orari: da martedì a sabato dalle 15,30 alle 19,30
I giovani artisti Niko Abramidis & NE, Roland Burkart, Alberto Finelli & Evyenia Gennadiou, Josef Knoll, Amedeo Palazzo, Jonas von Ostrowski e Johannes Tassilo Walter sperimentano una forma di collaborazione gerarchica con il fine di approfondire il significato del termine “collaborazione”. Il significato della parola “collaborazione” implica, secondo una accezione specifica e compromettente, una cooperazione con il nemico in tempo di occupazione. Nella pratica artistica contemporanea alla collaborazione viene attribuito un significato progressivo, dove la funzione dell’autore diviene sempre più superflua
Spazio Ostrakon features the young artists Niko Abramidis& NE, Roland Burkart, Alberto Finelli & Evyenia Gennadiou, Josef Knoll, Amedeo Polazzo, Jonas von Ostrowski and Johannes Tassilo Walter exploring a hierarchical form of working together, with the intention to interrogate the meaning of the term “ collaboration”.
Historically, the term “collaboration” means working together with your enemy in times of occupation. In contemporary artistic practice “collaboration” is predominantly imbued with a progressive quality, particularly in respect to dissolving authorship. This mechanism, however, has also evolved as a technique of neoliberal structures, where not only authorship is being obfuscated, but also responsibility, and it is this aspect that these young artists take exception with.
In order to highlight the mercantile aspect of collaborating, the artists at “Collateral Collaboration” set out an entirely different path: they become each other superiors. Each artist commissions a work to another artist. Within this procedures the artists are very familiar with each others work and working modes, and know where they can meet. “ This is not intended as a harmless trifling, but a precise artistic critique on the work of the other” notes Jonas von Ostrowski. “ The result is a round table with many sharp corners”.
Use one another! Need one another! Misuse one another! The young artists want to wrest the collaborative process from the irresponsible ambiguity and seemingly playful togheterness, and to satisfy a desire that Andy Warhol may have been striving for in vain: the wish to have a boss whose every want could be read from his lips in rebellious opposition. This is not about merging in order to cultivate a domesticated wolf in sheep’s clothing, who will not be able to speak his name anymore. Quite the opposite: it is about arriving at a duplicated and intensified authorship where praise and criticism become manifest in a serpentine movement, with its “glittering spittle” providing both poison and cure. The intention is to create connections between the works as a zipper mechanism that will allow to reestablish a shock value of the vulgar. The disgust about collaboration, that is often no more than a hyperlink intended to simply increase the number of clicks and nothing more but a cheap and vain marketing tool under weak pretense of progress, is what drives this project that sets out to shoot down this pretense in order to celebrate a pageantry of distinct borders. (Felix Pfahl)