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Intellect Books - Alfredo Cramerotti

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96 pages

English

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Addressing a growing area of focus in contemporary art, Aesthetic Journalism investigates why contemporary art exhibitions often consist of interviews, documentaries, and reportage. Art theorist and critic Alfredo Cramerotti traces the shift in the production of truth from the domain of the news media to that of art and aestheticism—a change that questions the very foundations of journalism and the nature of art. This volume challenges the way we understand art and journalism in contemporary culture and suggests future developments of this new relationship.

Sujets

Media Studies

History of art

Design

Art

Cultural Studies

Contemporary

History

Media

Informations

Publié par	Intellect Books
Date de parution	01 septembre 2009
Nombre de lectures	0
EAN13	9781841503417
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Aesthetic Journalism
A white, ethereal light floods the whole space. We walk to the other side of the space, listening to our own footsteps. From behind the reception desk, a curly, courteous man hands over the tickets. It s nice, I say, to have such a place where you live. It feels lucky. We exchange a brief glance, and stand there for a second, wondering where to get in for the exhibition
The space looks almost too big. On the walls, photographs, photocopies, graphic and printed texts. Too soon to understand what it s all about - except the clue of the exhibition title. We get closer. They re stories. Facts, chronicles, charts, drawings, statistics, voices, faces. They re maps, in a sense. The monitors and headphones; the projections floor-to-ceiling; the bench; the cables; the panels. They re all maps.
We re not in a hurry, are we? You whisper, half smiling. No, I say, we re not.
Aesthetic Journalism
How to inform without informing
Alfredo Cramerotti
First published in the UK in 2009 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2009 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2009 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Co-published with K nstlerhaus B chsenhausen

B chs n Books - Art and Knowledge Production in Context. Edited by Andrei Siclodi - Volume 2
Address: K nstlerhaus B chsenhausen, Weiherburggasse 13/12, 6020 Innsbruck, Austria Phone: +43 512 278627 / Fax: +43 512 278627-11 Email: office@buchsenhausen.at / Website: http://buchsenhausen.at
Cover designer: Holly Rose Copy-editor: Heather Owen Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-268-7 978-3-9502583-2-5 EISBN 978-1-84150-341-7
Printed and bound by Gutenberg Press, Malta.
Contents
FOREWORD
by Sally O Reilly
INTRODUCTION Art and Journalism: A Perspective Shift of Meaning
by Andrei Siclodi
Chapter 1: ONE THING Among Many
Chapter 2: WHAT is Aesthetic Journalism?
Why aesthetic?
Why journalism?
The crisis of traditional journalism
Art s chance
Chapter 3: WHERE is Aesthetic Journalism?
Art s context
Documentary
Internet
Advertising
Chapter 4: WHEN did Aesthetic Journalism Develop?
A few scenarios of the past
and some closer to the present
Art as self-documentation
Art as social criticism
Dan Graham
Martha Rosler
Hans Haacke
Art as reporting
Grupo de artistas de vanguardia
Chapter 5: HOW shall we Read Aesthetic Journalism?
Reading reality
Constructing reality
Subjectivity at play
Chapter 6: WHO produces Aesthetic Journalism Today? From Which Position?
Artists and projects
Multiplicity: Border Device(s)/The Road Map (2003)
Lukas Einsele: One Step Beyond - The Mine Revisited (2001-2004)
Laura Horelli: Helsinki Shipyard/Port San Juan (2002-2003)
Renzo Martens: Episode 1 (2001-2003)
Alfredo Jaar: The Rwanda Project (1994-2000)
Ren e Green: Partially Buried in Three Parts (1996-1999)
The Atlas Group/Walid Raad: Hostage: The Bachar Tapes (1999-2001)
Bruno Serralongue: Risk Assessment Strategy (2002)
Chapter 7: WHY is Aesthetic Journalism Relevant, Now and in Perspective? 101
Different strategies
Witnessing: making time
Interactivity: removing the visible, adding the meaningful
Hijacking: on art and journalism
Disclosing: playing with mechanisms
Horizon(ing)
Chapter 8: REFERENCES and Niceties
Acknowledgements
Bibliography
AFTERWORD
Bared Life
by Irit Rogoff
Foreword
by Sally O Reilly

We ve all pretty much come to the conclusion that art does not thrive in a vacuum . In fact, we are most insistent that art inhabits the social realm, that its use value is not primarily that of luxury goods, but something altogether more dialogical. Art and the everyday have famously elided in a democratic gesture of inclusion: of the artist in society and the viewer in the process of generating meaning. Many practitioners, however, cannot quite shake the romantic ideal of the artist. At times their prescriptive programme for a dialogical relationship between artwork and world divests such liberalism of its potency, reducing it to mere appearances.
Artists, curators and critics are always talking about the viewer - that mysterious single entity that lurks at the back of every practitioner s mind - but this generally constitutes such an abstracted understanding of audience that it barely seems a humanist concern. While the audience seems to be prioritised over authorship, subjectivity placed above authority, this is as illusory as a perspective; the democratic gesture turns out to be a tromp-l oeil effect. Indeed, it is more likely that this viewer is considered in denatured, formal terms within reception theory or as a singular element within the triage of meaning making, between object, author and interpreter. An audience is seldom discussed as a number of sentient individuals with conflicting experiences, ideologies and prejudices - a tendency that is particularly dangerous for art that wishes to remain relevant in fractured, fractious times.
A similar difficulty arises when the artist takes another person as subject matter. While I agree that art should contest the impositions and ignorance that constrain us in collective society and public life, I do not believe that the artist enjoys total immunity from the ethics of representation. Aesthetic and conceptual impact must be negotiated with some bearing on the moral compass and, in matters of representation of others, irreverence for political correctness and good manners must be tempered with respect. Then again, ribald subjective authorship is no longer considered the enemy of diplomacy or democracy, and neither is objective truth its yardarm. These categories have ceased to stand for a separation between creative cultural practices and the life sciences, between fiction and knowledge. Contemporary artists need not observe the guilt-induced prohibitions of the ethnographer - who no longer feels comfortable with the insinuations of subjectivity nor the cold detachment of objectivity - but they might learn from the impact of these modes within the tradition of art and journalism. Creativity and information are no longer distinct, as Alfredo Cramerotti explains, therefore we must think of how to inform with a light touch, how to yield pleasure while maintaining a political grasp, how to know and to dream at one and the same time.
Sally O Reilly
Introduction
Art and Journalism: A Perspective Shift of Meaning

by Andrei Siclodi
The second book in the series B chs n Books - Art and Knowledge Production in Context approaches the present relation between certain forms of contemporary art and the world of journalism. Alfredo Cramerotti, who wrote the rough draft of this book in 2007-8 as a fellow at the International Fellowship Programme for Visual Arts and Theory in B chsenhausen, here carries out an analysis of a phenomenon that might be described as the journalistic turn in the contemporary visual arts .
Following the second wave of institutional critique and the re-politicization of the art field that it brought with it, artistic practices since the 1990s have taken on forms that aim at a manifest investigation of mainstream conceptions of reality. In the first decade of the twenty-first century, the mass media was influenced by an increasing aestheticization of the distribution and publication of information. Among other things, the growing commercial pressure on the media as a result of rapidly developing global capitalism led to the trend of news being packaged in entertaining formats, whereby the strict separation between information and opinion has become increasingly blurred, objective investigative reporting has lost more and more ground to a processing of news that tends toward infotainment . Parallel to this, a growing interest can be discerned in the art world in aesthetic strategies that directly resort to the treatment and reprocessing of material and knowledge arrived at through investigative work methods. The results of these methods are then made accessible to the public by using journalistic formats or those similar to journalism. The question as to what reality is and how it can be conveyed and/or represented has become crucially significant for these artistic practices.
In light of this development, it can be observed that the question over the truth of what we see and experience has qualitatively shifted from the field of journalism to that of art. And there is no doubt that with art we mean the visual arts. Because since the 1960s,
art has gone through a structural change, similar to that of psychology and ethnology, and no longer has its field of knowledge as a life form or organism but rather like these other fields expands the discursive in the crossroads of other humanist fields of science. 1
I would like to build on this statement with the claim that the discourse of art has expanded even beyond the traditional sciences into many everyday fields, and in general, it has come to represent a specific form of knowledge production that resonates outside of established expert domains. Art s capacity for a certain form of aesthetic-political objectivity and progressive criticism of what we call reality are important preconditions - and at the same time also cogent reason - for scrutinizing the relationship between art and journalism. Yet this is not the only reason. As with the media, art also employs images and other evidence of reality - in short, documents - in order to conduct its (visual) discourse on reality. Trust in documents, however, has been deeply shaken for