活着！ 活着！ 活着！
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。
|2017||Hexachrome print on Satine paper |
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
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
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。