genre: Performative Installation Sequence
time: Since 2020
tags: Art, Art Object, Open, General Domain, General Audience, Media Studies, Art Phenomenology, Autonomy, Media-Asceticism, Art-in-Itself, Common Things, Whatever
In the First sequence of the Whatever project, presented in Serlachius Museums venue in Finland, Whatever was represented by boots. What distinguishes artwork from an ordinary thing? In this work, all applied qualities (such as craft, plot, image) are purposely removed from the object of art to make this difference easier to experience.
Stream installation rendered alive from the audiovisual array was broadcast to aroungart.org website during the Corona quarantine in March 2020. The array consists of artists’ video and audio recordings and is constantly updated with new material. Thus, the stream installation is constantly evolving, remaining a singular work of art. That part of the sequence denotes a forced catastrophic transition to a virtual representation of art.
The Whatever is an exposition and performative sequence project. The content of the artwork is unpredictable, its medium is chosen every time by artists as a result of rigorous elaboration and selection. Also, concept documentation and previous work incarnations may become part of the exposition.
In Russian, the word Whatever is translated as Любое [Lyuboye] and refers to the form of the verb to love (любить): beloved (beliebig in German), which is paradoxically the opposite of Whatever. The same contradiction in the Latin word Quodlibet Giorgio Agamben unfolds in THE COMING COMMUNITY: “The Whatever here relates to its being such as it is.”
Questions of the medium and the art object are always crucial to the artistic process. For six years, we have conducted extensive practical research, experimenting and studying various media: from painting — to virtual reality, from relational aesthetics to multimedia installations controlled by microcomputers. With a wide range of facilities, we consciously chose the simplest media forms whose simplicity does not mask the fascinating complexity of the substance of art.
The blank place produced by the artistic act remains the only constant of all the subsequent objectification of this work. Finally, the artwork is the summation of a conditional blank place, a particular embodiment, as well as its entire history as a self-generating work.
Generally speaking, we quest for the place of art, and this investigation requires complete openness and intellectual independence. We are not looking for a place of art somewhere: in society, in history, in culture. We are looking for this place where art has it. By the way, if we are looking for a place of art somewhere, for example: in society — this means that we have already found it, it is in society, conditioned and mediated by society. If we are seeking for a place of art as an autonomous notion (otherwise, it’s not worth talking about it), then its place is not somewhere, but Nowhere. This particular Nowhere serves as a factor ensuring the autonomy of the notion of art.
Our job is to point to this place. Everything else — the plot, the medium, the materiality originates from us genetically, as from those who bring the artwork into life.
Marika Krasina & Anton Kryvulia
+7 (977) 348-91-82