invitation / make/love/on\no/future

gottrekorder - association of artists gottrekorder at
So Jun 19 19:56:30 CEST 2022

Unseen Sights – Part 2

Installation by gottrekorder e.v. at Neuer Kunstverein Wien
as part of the Independent Space Index Festival 2022
22.–26.06.2022, 12:00–19:00

Open discussion with Andreas Spiegl
Wednesday 22.06.2022, 14:30–15:30

Rennweg 110-116, A-1030 Wien

A cooperation of Independent Space Index
& NKW & gottrekorder e.v. <>

R.G. for gottrekorder e.v., Vienna, 06.04.2022

Unseen Sights

The emptiness that becomes ritual is real.

After post-modernity comes, is now – real postmodernism!
The replacement of rational decisions by aesthetic ones – without a 
link. The reversal, the turning back to faith, the stupidity of 
self-empowerment as and in therapeutic impotence, inexperiencabilty of 
significate, realisations of multiple virtualities – into an easy 
standardising “pluralism for the future”.

(Beautifully ideology-free?)

"What is done to our individual life experience by means of high-tech, 
namely to let it dissolve its own experience in its experience, is also 
applied post-modernly to the social past, which thanks to high-tech 
becomes so recitable that it can be received immediately, as if one had 
travelled to yesterday, so that one is no longer from yesterday, but 
from after yesterday."

Of this it must be said: what is presented as drafted is here already 
practically closed in the draft – never open.
The necessarily selective traversal of the always instantly different 
river as a polylogy of artistic-aesthetic practices stabilises into the 
constant outflow of productions that can/are allowed to be thematised 
and commented on as artistic decisions – to become nonchalant but no 
longer negotiated (in the sense of processual vividness or, even more, 
actual – with respect to their potentialities – presence).
Above all, more and more technical (applied) new additions, whether as 
materials for informing and information or as tools for doing this (the 
means justify the means, the end is mediocrity), have been and are being 
integrated, concisely presented.
There is necessarily an overlapping of sense data, mixing and 
cancelling, a "cross-over esotericism" of pop-formalist content 
evacuation. Even an opposition of form-statement-institutions within a 
few decades or even years. Levellingly global in different places and 
for different groups.
In relation to the Western industrialised and everyday digitalised art 
world, however, the zenith is already well passed and tendencies are 
recognisable which, while not a retrogressive movement, yet correspond 
to the actually usable potential of supposedly innovative technologies; 
weighed against the statements actually obtained and produced in this way.

Was that the choice then?
Virtual therapy (self-empowerment) and infantilism instead of 
rationalization and technocracy? The living zoon politikon is desired 
dwindlingly small, should desire to give way to "anything goes", adoring 
itself as an art figure, making aesthetic/more theological decisions or 
not making them, individualized collectively and throwing around and 
away from itself. Rather art figure without conscience (historical 
experienceability) than real (acting) person. Seen sociologically, a 
pseudo-political "colour-blindness" independent of class? Who is going 
to shoot whom virtually? Just so.
The impatience of the bourgeoisie, jiggling at the world clasps, has 
passed loss at the short-lived longeurs of the last decades of the last 
millennium; and how could it revolt otherwise than as a history-less 
non-rebellion of the real postmodernist generations?
To whom can all the utopias, efforts, constant toil (formerly the 
civilizing project) be left now? Is the old time still young?
(Post-modernness faked for real.)

Better one cannot ...
Because this always has, what appears aesthetically charming, the 
consequence of justifying itself, if at all possible, also ethically.*

Burghart Schmidt, Zeitökonomie des Individualismus (Wien, Edition 
Splitter, 1996), 86.
Cf. Umberto Eco, Kunst und Schönheit im Mittelalter (München, Carl 
Hanser, 1991).

Translated by Jonathan Uhlaner
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