Posted by Andreas Broeckmann on June 09, 1997 at 04:00:48:
In Reply to: Terrorism & NaivitÚ/ irwin, interpolt etc. posted by jan ňman on June 05, 1997 at 05:00:20:
>Motto: And there is more? oh no ...
>this whole story looks like a painful conflict among friends who have hurt
>each other and who are now trying to understand what happened. I must admit
>that, for me as an outsider, the unresolvability of this knot through more
>postings and explanations is pretty obvious, and I guess that you, Victor,
>Wanda, Borut, the IRWINs and whoever should go and visit the temporarily
>immobilised Alexander Brener in Hoorn, have a meal together, drink and
>sing, and dance around a bonfire.
>Some of this is also 'artworld' stuff (money, fame, envy, intrigues, ...)
>which is why, I think, some of us are enjoying the current marginality of
>media art and stay away from the Real Art people.
>Stripped of all the yes's and but's, I find two strong statements in your
>letter which you frame as an East/West-specific conflict.
>>a sort of envy of the order of things
>>in the "west" and as a result of this a double-bind: a wish to destroy what
>>bothers you, and at the same time a wish to become part of it, to get
>>As well as
>>Victor I wanted with Interpol to make a project that broke with the
>>"fatigue" of the world/art world, that perhaps pointed out different ways
>>of doing things. But from my point of view in Sweden/the west - the results
>>produced by Oleg and Sasha was the contrary - to fulfill the expectations
>>of the medias, the tabloid mentality etc. And, even more important, it was
>>to fulfill an expectation of a view of Russia/the Russian artist. It might
>>have been successful as self-promotion, but on a more general level a
>>promotion of isolation. So the question might be right: what does it take
>>to be taken seriously? The wish for it? What is beyond the hope for
>I don't see any of these accusations as particular to either Russia or
>Eastern Europe, quite the contrary, if I look around here in Berlin or the
>Netherlands, in Ljubljana, Paris or New York, I find pretty much the same
>pattern of conflicts which might have something to do, by the way, with the
>fact that the cultural capital that some artists deal in is closely
>associated with their sense of self. Their subjectivity then becomes their
>strongest, and most vulnerable, asset.
>But I am not sure whether an explanation like this makes the whole issue in
>any way more interesting. In so far as this is an internal discussion about
>the relationship between art and art, I think it doesn't.
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