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Josephine / 约瑟芬

-Michal Martychowiec - 德国

Josephine
约瑟芬

乔多罗斯基(Jodorowsky):生命的意义是什么?生活没有意义。

活着! 活着! 活着!

但是,如果不追求活着的意义那活着又有什么意义?

杜尚的通缉海报

这张通缉的海报重建于马塞尔.杜尚(Marcel duchamp, Wanted: Rewards $2000)的艺术手段。通缉海报的核心的意义是关于”身份的寻找”,就如杜尚的海报那样,约瑟芬的通缉描述中也出现了许多化名,如Rabbit与Joseph。这些化名象征着我们每个人在每天大都身兼不同的身份,到底哪个是真正的你,还是它们全部都是你? 通缉海报的设计是艺术家探索身份的常用艺术手段之一,在这里,是关于约瑟芬的身份。

只要活的!因为活着是艺术品,死后便成了艺术史

约瑟芬(Josephine)图中的兔子为一个现实中具有生命的个体,它是一个正在进行的项目,是艺术品的源泉。 无法被包含在*博物馆的虚拟世界中。这就是为什么约瑟芬(Josephine)永远不能成为*虚拟世界中一员的原因,因为约瑟芬(Josephine)的意志无法被程序理解。它拥有自己的意志,做事可以没有理由。它是生命的象征和体现,无法被程序化。而当她去世时,她将不再是一件艺术品了,她将成为艺术史的一部分。

*VR虚拟现实是老歌新唱,只是可能多了伴奏而已

“博物馆和展览厅”与”VR虚拟现实”其实非常相似。它们最终都是为观众提供一个虚拟世界的空间。从古典艺术的角度看,历史中的西方艺术家一直在尝试创造出不同的“现实”(例如,古典的比喻性绘画)。但在近几世纪,特别在法国革命之后,已迎来了变化。在当代中,仍有无数艺术品引导观众进入艺术家自己创造的世界。所以,我们可将现代传统博物馆与展览厅比作包含着各种虚拟世界程序的主机。

”虚拟世界”这个概念在20世纪忽然变得重要起来,例如在未来派艺术家创作的虚拟现实世界中,虚拟的物件标志着边界,新的价值观与世界观为参观者带来感官上的刺激。可是,他们从来都不是真实的,在大多数情况下如实捏造,但通常都是不切实际的。尽管虚拟现实比传统博物馆等展览空间带来了更多的生命力,因为它更充满活力,并不断变化、演变。能通过系统强调事件的重点与要点,保持观众完全持续的参与。于此同时,这种刺激与便利也令我们迷失了、放弃了寻找意义的原始动力。

Year
年份
Medium
媒介
Size
尺寸
edition
版数
Signed
签名
2017Hexachrome print on Satine paper
6色釉光纸印刷
50x60cm

99Yes
Type
类型
Condition
状况
Offer
状态
Quote
价格
SKU
编码
Prints
版画
Excellent
完美
Available
可售
人民币 4100MMBBJ01

The museum (and when i say this I mean most cases of museums, exhibition spaces of galleries andproject spaces, especially in a form which is most common – a white cube) is very much alike a virtual space or reality. So entering the museum is entering the virtual reality.

Classically speaking western artist did attempt creating realistic representation and as such creating a different ͚reality͛ (I am thinking of classical figurative painting for instance). This has of course taken course of changes over centuries, and particularly following the French revolution. However, the case has remained as much as the museum has become a space where objects were considered in an entirely different light than anywhere else.

That of course becomes particularly significant in the 20th century, e.g. with the casevof futurists and the creation of the readymade. In the virtual world completely different things mark the borders, different value systems are proposed and forced upon us. The visitor is subjected to various stimuli, all of them however, never truly real; in most cases truthfully fabricated and in worst simply unrealistic. The symbols are emphasised and the necessity to read them made paramount to the visitors existential condition (within this virtual world). The only difference one might point is that the virtual reality is perhaps more alive than the museum, as it is vibrant and ever changing and evolving with complete ongoing participation from the audience, but again saying the museum space is dead, is not saying it shouldn͛t be, for it is so for a reason. The case became interesting in the context of the new exhibition at MOCAK. The director claimed the exhibitions and museums will move online in the near future and this is a new reality, there is nothing to fear as we should accept it. She also compared the online and offline museum to cinema and theatre.

All this is of course deeply rooted in the modernist discourse and has a serious flow. One significant question could be asked why the show in question was not created online while the museum space would have been left empty. Instead, the show on the topic of virtual reality was classically constructed in the ͚dead͛ space of the museum. Here it should be noted there is no idea of this new reality being made ͚dead͛ in the same sense as Marinetti created a dead sculpture out of a car. Museum becomes more like a showroom of an electronic shop where merchandise can be tested.

The classical space of the museum thus allows access to the virtual reality, for a strange reason as such access can be gained from one͛s home, or it presents physical objects on the topic of the virtual. At such point the whole idea is as scholastic as it is descriptive rather than exploring. It is interesting to point out also, the ͚new virtual reality͛ or rather I should say its abundance in daily life, has contributed if not created an existential crisis of the contemporary man.

Nothing else in history has created such a significant sense of loneliness (en masse) in the society. Nothing else has deprived and limited our means of direct communication. But strangely none of the art in question is actively facing these topics, if so it is rather moving away from them by, for instance claiming slogans like user – ͚post-human͛ time. This of course too is insatiability of the modernist idea of development (even if true modernists had not such intention, it is how the posterity took and developed their directions and heritage). And thus technology makes us lost and abandon hope of finding any meaning in all of it. Art loses us further And here the case of Josephine becomes ever more significant. Josephine can never be contained within virtual reality: i.e. the museum and the virtual reality understood in the most common sense.

To create the virtual reality a system (also called program) has to be created. To create such system the [created] thing has to be within understanding. This is why Josephine can never become a virtual reality, because Josephine escapes all reason. She becomes simply speaking what the black square should have been. As it was written going to see black square makes one realise it actual exist within the materialist reality, something which somewhat goes against it, as it shatters its myth. On the other hand Josephine will not be able to allow such case. She will only be what will remain (after all ͚What remains the poets provide͛), through the various other works made, but none of them is strictly her, none of them can equal to her as the source (in the same sense as the black square is the source of all creation). Josephine then is the symbol and embodiment of life, ever fleeing and never truly tangible. The wanted poster is about that. Works of art are the ͚wanted͛ commodity but of course despite being produced this poster can never truly fulfil its role because the rabbit has never been lost, and the artist knows where it is. Words of Jodorowsky come to mind: ͞What is the meaning of life? Life has not meaning.

Live! Live! Live!͟

But what is life worth, and is it actually worth living if not through an ongoing pursuit of the meaning of it? this idea  offers only one of the possibilities of what Josephine is about

Because it’s still very much a work in progress as long as Josephine is alive it is a work in progress

And when she dies she will be no longer a work of art she will become part of art history

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Josephine 约瑟芬/ 2017 / Hexachrome print on Satine paper 6色釉光纸印刷 / ed:99版/ 50x60cm /人民币 4100

Artist 艺术家

Michal Martychowiec 弥豪·马堤霍威茨

Contemporary Artist 当代艺术家

Michal Martychowiec 弥豪·马堤霍威茨

Michal Martychowiec,1987年出生于波兰卢布林,2009至2011年在英国伦敦圣马丁艺术大学研读视觉艺术,现工作和生活于德国柏林。近期展览包括:“那永存的,皆有诗人创立”,南京艺术学院美术馆,南京,中国 (2017) ; “Engels mit Sphinx Gesichten”,MMS2基金会,柏林,德国 (2016) ; “Line”,gift_lab GARAGE,东京,日本 (2016) ; “All Is History”,Dzialdov,柏林,德国 (2015) ; “Vanito Vanitas”,根金根基金会,根金根,德国 (2013) ; “La Chambre de Labastrie”,Upp画廊,威尼斯,意大利 (2013) ; “In Memory”,乌亚兹多夫城堡当代艺术中心 (CCA),华沙,波兰 (2013) 等。