Art is not mimetic. Art is not ‘about’ stuff. Art has no role. Art does not ‘ask questions’. People might do those things, sometimes even people who are artists. But not their art, even if they think it does, even if that was their intention.
Were one to be dramatic, they would decree art the pre-Tower-of-Babel mother tongue (thus terming it ‘autonomous’ misses its essence as all-encompassing source), and politics not even one letter within it. They would point out an iceberg that, in contemporary discourse, had thus been forced to balance on its tip. A dangerous balance indeed. But for now, let’s pretend that all we’re saying is that art and politics are simply two different languages, a distinction too often forgotten in the aforementioned discourse.
Within the artistic process works emerge that seem not to fit into the cosmos of an artist‘s practice. In the eyes of the maker, they have not yet been defined as an art work, or were determined as a study. In order to take a view behind the curtain, artists have been invited to propose a work they have never shown before for various reasons. Some of the works were never accepted as finished because they failed, looked overdrawn or simply appeared not good enough. Others, however, seemed too personal or intimate to show. What do unaccomplished and withheld works tell about the personality of the artist, the mechanisms of self versus external judgements, and the definition of artworks in general? Continue reading →
Alona Harpaz’s video Salt # 3 which will be displayed at circle1 in the next exhibition, is a fascinating experience relating to Israeli folk dance. Israeli folk dance answers some of the parameters required to define a Folk dance such as being performed by people with little or no professional training, but other than this characteristic none of the attributes related to the term appear in any of them.