{"id":866,"date":"2010-09-10T09:27:44","date_gmt":"2010-09-10T07:27:44","guid":{"rendered":"http:\/\/www.vesna-bukovec.net\/eng\/?p=866"},"modified":"2020-08-21T13:44:38","modified_gmt":"2020-08-21T11:44:38","slug":"minimal-differences","status":"publish","type":"post","link":"http:\/\/www.vesna-bukovec.net\/eng\/archives\/866","title":{"rendered":"Minimal Differences"},"content":{"rendered":"

Exhibition:<\/strong> Minimal Differences
\nLocation:<\/strong> White Box, 329 Broome Street, New York, NY 10012
\nDate:<\/strong> September 15 \u2013 October 23, 2010
\nOpening Reception:<\/strong> September 15, 2010, 6 – 9 pm
\nPanel Discussion:<\/strong> September 16, 2010, 6 – 8 pm<\/p>\n

Curators:<\/strong> Denise Carvalho, Monika Szewczyk<\/p>\n

Artists:<\/strong> Pawe\u0142 Althamer, Azorro, Vesna Bukovec, Ji\u0159i \u010cernick\u00fd, Oskar Dawicki, Katarzyna Kozyra, Zbigniew Libera, Joanna Malinowska & Christian Tomaszewski, Anna Molska, R.E.P., Slaven Tolj, Marek Wasilewski, Julita W\u00f3jcik, Martin Zet<\/p>\n

Panelists:<\/strong> Michal Kole\u010dek, Izabela Kopania, Jerzy Onuch, Jaros\u0142aw Suchan, Marek Bartelik
\nModerator:<\/strong> Denise Carvalho<\/p>\n

\"Minimal<\/p>\n

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About the exhibition:<\/strong>
\n\u201cCentral Europe,\u201d the umbrella term favored among formerly \u201cEastern\u201d European countries, is defined by membership, not geographical position. Although called \u2018central\u2019, Poland, Czech Republic, Estonia, Slovenia, Slovakia, et al, remain in the periphery of continental Europe, having within their borders great differences in regard to language, religion, ethnicity, economics, and politics. These differences become ironically \u2018minimal\u2019 in light of the new economic demands that enable their survival in the global economy. This catch-22 leaves Central Europeans with little choice but to reflect themselves as stereotypes of \u2018otherness\u2019, as virtual realities, an otherness within, like two parallel worlds living together, even though only one is real. Postcolonial societies over the centuries have chosen to inhabit the very stereotypes they hoped to overturn; only by \u201cbeing\u201d could they eventually subvert their own half-identities, somewhere between the colonizer and the colonized. \u201cMinimal Differences\u201d explores the two sides of this ironic self-definition: one, which has become \u2018central\u2019, therefore losing all the privileges of subversion, resistance and rebellion of its previous state of difference and otherness; and the other, still a memory of itself, a self-stereotype humoring itself as a parallel reality, a phantom-limb, itching and hurting, but no longer real.<\/p>\n

More:
\ngaleria-arsenal.pl<\/a>
\nwww.whiteboxny.org<\/a><\/p>\n

<\/div>\n

I am participating with the project Contemporary Art for Parents<\/a><\/p>\n

\"Contemporary<\/p>\n

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With Vesna Bukovec\u2019s video and interactive piece, Contemporary Art for Parents (2002), this idea of meaningful meaningless is turned on its feet, as art becomes as meaningful as a new ideology that needs to be learned by parents and people of earlier generations. In Bukovec\u2019s work, she is the narrator, the interrogator, and the ruler. She creates the laws of either understanding or misunderstanding art. Bukovec applies a didactic method in which misunderstanding art is the most effective way to actually understand it. It is also interesting to consider how the communication of contemporary art is its most valuable tool to sustain language autonomy from an art market that reduces ideas into desirable objects or marketing strategies. The historical trajectory of Art has gone from being an object of mediation between beauty and function to an object of language, from object to subject matter; it has become an advocate for the dying dialect of the intellect of an elite-turned-margin of the global world. In today\u2019s world of consumerist functionality, the subject matter of contemporary art is a dead language, but its object is mostly alive. How to explain to parents and the mainstream lay person that the art object\u2019s concept is still what drives it into the economic circuit? This is an ongoing task. Vesna Bukovec\u2019s work is also about the difficulties in sustaining communication on the most basic levels, here paralleled to the level of the stereotypes in central Europe. The artist tries giving a hands-on explanation to her parents about the most important issues in contemporary art, looking at market, history, institutions, browsing through texts, tasks that prove to be quite difficult. The issue of being didactic, which contemporary art avoids, ironically becomes the main tool for achieving a common ground.<\/p>\n

From the text Minimal Differences<\/em><\/a> by Denise Carvalho<\/p>\n

—<\/p>\n

Photos from the opening<\/p>\n

\"Minimal<\/p>\n

\"Minimal<\/p>\n

\"Minimal<\/p>\n

\"Minimal<\/p>\n

\"Minimal<\/p>\n","protected":false},"excerpt":{"rendered":"\n\n
\"Minimal<\/a><\/td>\nWhite Box, New York
\nSeptember 15 \u2013 October 23, 2010<\/p>\n

Curators: Denise Carvalho, Monika Szewczyk<\/p>\n

Artists: Pawe\u0142 Althamer, Azorro, Vesna Bukovec, Ji\u0159i \u010cernick\u00fd, Oskar Dawicki, Katarzyna Kozyra, Zbigniew Libera, Joanna Malinowska & Christian Tomaszewski, Anna Molska, R.E.P., Slaven Tolj, Marek Wasilewski, Julita W\u00f3jcik, Martin Zet<\/p>\n

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