Art in the Age of Globalization
– But once you have the information, it’s up to you what you do with it. Globalization without roots is meaningless in art. (Harald Szeemann, Here Time Becomes Space, 2001)
– Once, the task of the artist was to make good art; now it is to avoid making art of any kind. (Allan Kaprow, 1966)
– Do nothing (Masanobu Fukuoka)
– Somebody or something has confounded our language. (Rudolf Arnheim, Art and Entropy, an Essay on Disorder and Order, 1971)
– The spectacle is capital to such a degree of accumulation that it becomes an image. (Guy Debord, The Society of the Spectacle, 1967)
– This past, moreover, reaching all the way back into the origin, does not pull back but presses forward, and it is, contrary to what one would expect, the future which drives us back into the past. Seen from the viewpoint of man, who always lives in the interval between past and future, time is not a continuum, a flow of uninterrupted succession; it is broken in the middle, at the point where “he” stands; and “his” standpoint is not the present as we usually understand it but rather a gap in time which “his” constant fighting , “his” making a stand against past and future, keeps in existence. (Hannah Arendt, Between Past and Future, 1961)
– And I think the need – and willingness – to betray oneself is the inner flame of any creative force. If there is a major challenge, it is that of transgressing one’s own limitations, of destroying whatever concepts, superimposed or self-inflicted, may exist about who you are and what you stand for, of cultivating your doubts rather than strengthening your convictions. The importance of being uncertain, simply put. (Stig Sæterbakken, 2011)
– I shall not renounce my share of violence. (Raoul Vaneigem, Traité de savoir-vivre à l’usage des jeunes générations, 1967)
– Art was made before the emergence of capitalism and the art market, and will be made after they disappear. (Boris Groys, Going Public, 2010)
– What is the tragedy? It’s that there are no longer any human beings; there are only some strange machines that bump up against each other. (Pier Paolo Pasolini, We All Are in Danger, 1975)
– No name is yours until you speak it; somebody returns your call and suddenly, the circuit of signs, gestures, gesticulations is established and you enter the territory of the right to narrate. You are part of a dialogue that may not, at first, be heard or heralded – you may be ignored – but your personhood cannot be denied. In another’s country that is also your own, your person divides, and in following the forked path you encounter yourself in a double movement… once as stranger, and then as a friend. (Homi K. Bhabha, The Location of Culture, 1994)
– The world already possesses the dream of a time whose consciousness it must now possess in order to actually live it.(Guy Debord, Commentaires sur la société du spectacle, 1988)
– For the secret power of lawlessness is already at work; but the one who now holds it back will continue to do so till he is taken out of the way. (2 Thessalonians 2:7)
– Creativity is about risk-taking, it’s about the rejection of comfort, and it’s about sweat – not the sweat of fear but the sweat of hard work. I’ll allow that there is a place for sudden inspiration, too – but inspiration occurs when risk, discomfort and graft are also involved. Here’s my creativity equation:
risk + discomfort + sweat (±inspiration)=creativity. (Adrian Shaughnessy, How to be a graphic designer without losing your soul, 2010)
– Most bad design, most mediocre design, is a consequence of fear. Clients are frightened; designers are frightened; audiences are frightened. The modern world of commerce runs on fear: a marketplace terror that makes us timid and risk-averse. Most of us deal with fear by falling back on the familiar and the safe. But if we do this, we are not allowed to turn round and say our lives are dull. If we are going to avoid losing our souls, we have to overcome the fear. (Adrian Shaughnessy, How to be a graphic designer without losing your soul, 2010)
– What destroys a man more quickly than to work, think and feel without inner necessity, without any deep personal desire, without pleasure — as a mere automaton of duty? That is the recipe for décadence, and no less for idiocy…. (Friedrich Nietsche, The Antichrist, 1888)
– A common vice among artists – or rather bad artists – is certain kind of mental cowardice because of which they refuse to take any position whatsoever, invoking a mis-understood notion of the freedom of art, or other equally crass common- places. (Piero Manzoni, For the Discovery of a Zone of Images, 1957)
– 2_Art can cease being a report about sensations and become a direct organization of more advanced sensations. The point is to produce ourselves rather than things that enslave us.
(Guy Debord, Theses on Cultural Revolution, 1958)
– We have gained reality and lost dream. (Robert Musil, Der Mann ohne Eigenschaften, 1942)
– How we see things and places is not a secondary concern, but primary. (Robert Smithson, The Collected Writings, 1979)
– Control the manner in which a man interprets his world, and you have gone a long way toward controlling his behavior. That is why ideology, an attempt to interpret the condition of man, is always a prominent feature of revolutions, wars, and other circumstances in which individuals are called upon to perform extraordinary action. (Stanley Milgram, Obedience to Authority, 1974)
– People eliminate themselves when there’s nothing happening – or they should. (Miles Davis, Miles the Autobiography, Miles Davis with Quincy Troupe, 1989)