{"id":10349,"date":"2015-05-12T06:27:00","date_gmt":"2015-05-12T06:27:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10349"},"modified":"2023-03-09T06:32:22","modified_gmt":"2023-03-09T06:32:22","slug":"the-beautiful-one-has-come","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/the-beautiful-one-has-come\/","title":{"rendered":"The Beautiful One Has Come"},"content":{"rendered":"\n

Hito Steyerl: Too Much World<\/strong><\/a><\/p>\n\n\n\n

Institute of Modern Art<\/strong><\/a> (420 Brunswick Street, Fortitude Valley, Brisbane), Dec 13\u2013Mar 22, 2014<\/strong><\/p>\n\n\n\n

(Coproduced with the Van Abbe Museum, Eindhoven)<\/p>\n\n\n\n

In his book, The Communist Postscript<\/em>, Boris Groys gives us this pivotal insight: \u201cThe leftist critique of the institutions of capitalist society is a discourse formulated during the Cold War by Western governments against Soviet Communism\u201d. This critique has then \u201c\u2026been repurposed as a self-critique of the West.\u201d(1) For Groys, this explains the ongoing allure of such leftist thinking in Western discourse. It also explains why such discourse is so \u201castonishingly homogenous\u2026it is always the same things being criticized from the same arguments.\u201d To Groys, such arguments are a sort of ready-made: \u201c\u2026for every society is prepared to accept a critique that has already demonstrated its effectiveness in the struggle against the society\u2019s opponent\u201d. Groys then puts the knife in and twists it: \u201ccritical discourse in the West circulates primarily as a commodity on the media market\u2026the sales potential of this critique is therefore potentially infinite\u201d. In the catalogue for Hito Steyerl\u2019s recent show at the Institute of Modern Art (Brisbane), the texts are littered with references to Marxism, neoliberalism, etc. For example, in Nick Aikens\u2019 essay in the exhibition catalogue, and indeed in many essays elsewhere, Eisenstein\u2019s 1928 agitprop film October<\/em> and the multiple stormings of the Louvre in the 19th Century seem fetishized. They are obvious key components and reference points of Steyerl\u2019s video \u201cIs The Museum a Battlefield?\u201d But: they are also very \u201cnormal\u201d historic markers for the Left \u2014clich\u00e9s even.<\/p>\n\n\n\n

Again, in a recent and extremely important new online text by Steyerl, the artist\/writer rails: \u201cContemporary art is made possible by neoliberal capital plus the internet, biennials, art fairs, parallel pop-up histories, growing income inequality. Let\u2019s add asymmetric warfare\u2014as one of the reasons for the vast redistribution of wealth\u2014real estate speculation, tax evasion, money laundering, and deregulated financial markets to this list.\u201d(2)<\/p>\n\n\n\n

I am in total agreement with her. The text is polemic, which allows for flaws, but I still wonder if by using such rhetoric we are all falling into a trap\/cul-de-sac. We use the same arguments, the same referents, over and over. Is this not nostalgia? As \u201csoft\u201d as the Right\u2019s nostalgia? It is the same rhetoric applied to a forever-new product: critical discourse as product. New Single OUT NOW<\/em>\u2026forever.<\/p>\n\n\n\n

I greatly admire the work of Hito Steyerl, but this IMA exhibition was disappointing. Steyerl is a video \/ performance \/ essayist artist, while her 3D works and the architectural interventions designed by others are very normal and dull examples of what passes for gallery-bound art these days. I don\u2019t wish to dwell on this, however. The most cogent work by Steyerl I have encountered (on Vimeo<\/a>) is her video performance piece \u201cIs the Museum a Battlefield?\u201d, originally made for the 2013 Istanbul Biennial. As the introduction essay of the handsome IMA \/ Sternberg Press exhibition publication tells us, this work shows how Steyerl \u201chas turned her attention from a politics of the screen to the institutions, mechanisms and money that lubricate the art world in which she (Steyerl) is enmeshed.\u201d(3) Personally, I have had many a conversation with art institution folk who have insisted that art is somehow inoculated from the machinations of the \u201coutside\u201d world, even when one sees first-hand how vicious insider art world behavior can be. I have always felt an enormous hypocrisy has been \/ is woven throughout art, especially art that has \u201csocio-political\u201d concerns.<\/p>\n\n\n\n

\"Hito<\/a>
Hito Steyerl, \u201cLiquidity, Inc\u201d, single channel HD video 00:30:00. 2014. Copyright Hito Steyerl, courtesy Wilfried Lentz Rotterdam. Photo Credit: Richard Stringer.<\/figcaption><\/figure>\n\n\n\n
\"\"
Hito Steyerl, installation view. \u201cHOW NOT TO BE SEEN A Fucking Didactic Educational.Mov File (2013)\u201d. installation. HD video 00:14:00. Copyright Hito Steyerl, courtesy Wilfried Lentz Rotterdam. Photo Credit: Richard Stringer.<\/figcaption><\/figure>\n\n\n\n

\u201cIs the Museum a Battlefield?\u201d is, in my assessment, the most powerful condemnation of organized Capital \u201cA\u201d art since that seminal \u201cclassic\u201d of institutional critique, Hans Haacke\u2019s\u201cShapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971\u201d, which carefully documented the underhand practices of one of New York\u2019s biggest slumlords and which caused Haacke\u2019s MOMA solo exhibition to be cancelled.(4) In \u201cBattlefield\u201d, Steyerl begins with an imagining of a bullet that killed a friend of hers, Andrea Wolf, in 1998 in southeastern Turkey for fighting with the PKK [Kurdish Workers\u2019 Party\u2014a political liberation movement or a terrorist group, depending on whom you ask]. Constantly returning to the bullet, Steyerl takes the viewer on a journey implicitly implicating art institutions in the mesh of money and power. Steyerl also points to the similarities between military structures and buildings and art museums\u2014indeed, one Frank Gehry-designed museum even has a similar shape to the bullet that killed her friend Andrea Wolf. From here, things get loopy. At the spot of the mass grave that Wolf and the others were buried in, Steyerl locates a 20 mm ammunition case manufactured by the defense contractor General Dynamics, and attempts to trace its path back to its origin. We are told the General Dynamics headquarters look exactly like a missile when seen from Google earth<\/a>; that the building was designed by Frank Gehry<\/a>; and that the software used to design the headquarters is also used to design helicopters<\/a>. Why exactly Gehry is singled out for vilification is unexplained.<\/p>\n\n\n\n

Steyerl\u2019s work is so cogent because, as a provocateur, she is able to coherently foreground the mechanisms of art that have long been buried and ignored. If art is to advance we must face up to our collective \u201ccomplicity of concern\u201c. What is wrong with total transparency in art? Art is a Symbolic space, after all. Importantly, the Sternberg Press book is full of telling bits of information. Nick Aikens\u2019s text recounts a partly fictional conversation from a recent essay by the artist Walid Raad. The conversation is with one Mordechai Scniberg or \u201cMoti\u201d as he is known, founder of the Artist Pension Trust (APT<\/a>). Raad tells Moti that he is worried that APT has links to the Israeli Defense Force. Moti replies: \u201cPlease don\u2019t tell me that you are one of those naive left-wing pontificators, head-in-the-sand pontificators who actually think that the cultural, technological, financial and military sectors are not, and have not always been, intimately linked.\u201d Steyerl goes much further than this. She makes an argument that it is not so much the acknowledgement of the murky world of art and the need for transparency. Steyerl asks us to consider \u201c\u2026what would happen if the trajectory that begins with corrupt private money or bloodied hands and ends up in international exhibitions and galleries could be reversed.\u201d(6) Steyerl broadens the arguments to include us and our own bodies, which are actually fuel for the endless machine of contemporary art.<\/p>\n\n\n\n

Australia is particularly prone to a Cargo Cult mentality. Hito Steyerl\u2019s \u201cToo Much World\u201d at Brisbane\u2019s Institute of Modern Art is just the latest in a long line of fetishized imports of \u201cinternationally important art\u201d. Cultural tourism with its emphasis on destination works and exhibitions is one of the main \u201coutcomes\u201d cultural institutions are forced to highlight to receive ongoing public funding. The last example I saw was Kaldor Projects\u2019s Santiago Sierra event at QAGOMA in 2010.(7) The restaging of the artist\u2019s work was reduced to an \u201cimage\u201d of itself with a hip art crowd audience entranced by the reproduction of a work they had first encountered as a reproduction in an international art journal. It was \u201cconcerned\u201d art as consumer product funded by a wealthy person for a government institution. Sierra was very disappointed in the show\u2014he told me so himself. This snippet links well to Groys\u2019s observations on leftist thought in the West. Always in soft Marxist texts someone or something is implicated by the rhetoric\u2014though unnamed, this entity is the target of the text. At times one feels personally implicated, as if one is not \u201cpolitical\u201d enough, not good enough. In Australia this is now most apparent in Indigenous activist art such as the collective ProppaNOW. To me, the texts have always seemed undercooked as they fail miserably to actually even slightly dent the real power structures buried in contemporary art. ProppaNOW actually commodify racism, not develop on from racism.<\/p>\n\n\n\n

\"Hito<\/a>
Hito Steyerl, \u201cGuards\u201d, installation with mirrored video display with wireless headsets. Single Channel HD Video, 00:20:11. 2012, Copyright Hito Steyerl. Photo Credit: Richard Stringer.<\/figcaption><\/figure>\n\n\n\n
\"\"
Hito Steyerl, \u201cStrike\u201d, installation with 46\u201d-flatscreen mounted on two free standing poles video, HDV, 28 sec. 2010. Copyright Hito Steyerl, courtesy Wilfried Lentz Rotterdam.<\/figcaption><\/figure>\n\n\n\n
\"\"
Hito Steyerl, installation view. \u201cHOW NOT TO BE SEEN A Fucking Didactic Educational.Mov File (2013)\u201d. installation. HD video 00:14:00. Copyright Hito Steyerl. Courtesy Wilfried Lentz Rotterdam. Photo Credit: Richard Stringer.
<\/figcaption><\/figure>\n\n\n\n

As I wrote this, international tourists were murdered by terrorists at the Tunisian Museum and displaced Yemenis use looted and empty museums as shelters; both are conflicts that the West is inextricably linked to. Also, we must own up to the fact that with the anything-goes-flat-pluralism rampant in art now we only have the value hierarchy of the market (along with a subservient academia) to bring any sense of clarity in the current situation. In short, finally we have seen the end of Modernism and its structure of competing \u201c\u2013isms\u201d. As Steyerl herself says: Too Much World. Art now is only a series of desirable props for an international game of money and power. Maybe that is all it ever was. In addition, and to belabor the conflict metaphor further, can we not also say that artists such as Steyerl \u201crise\u201d to the top like cream over a whole multitude of unpaid or lowly paid artists and arts workers who will never gain any recognition\u2014a sort of Canon Fodder for the 1%. Bourgeois pluralism will always have its losers and winners\u2014again, where there is no structure, there is no value.<\/p>\n\n\n\n

Contemporary art has also reached a level of astonishing homogeneity and unfortunately, this showing of Steyerl\u2019s work is no different from any other exhibition of video works fleshed out into installations. Her works are really better on Vimeo than in the mainstream contemporary art context. However, Steyerl remains a complex and wonderfully flawed artist whose practice, whose entity, is deservedly enjoying large-scale international success. Steyerl is the current New Single OUT NOW<\/em>. Buy it.<\/p>\n\n\n\n

Correction:<\/strong> This article has been amended. The original quoted a now discredited article published by the New York Review of Books<\/a> concerning then alleged construction worker deaths on the al-Wakrah Stadium, designed by Zaha Hadid. There have been no construction worker deaths on the al-Wakrah Stadium site. Accordingly footnote 5. has also been deleted but the Editors note has been left.<\/p>\n\n\n\n

Notes<\/strong><\/p>\n\n\n\n

1. Boris Groys, The Communist Postscript<\/em>, Verso, London 2009, p.84-8.<\/p>\n\n\n\n

2. www.e-flux\/journal\/duty-free-art\/<\/p>\n\n\n\n

3. Nick Aikens (ed.), \u201cToo Much World: The Films of Hito Steyerl\u201d in Too Much World, ex. cat., IMA, Brisbane; Van Abbe Museum, Eindhoven; Sternberg Press, Berlin p.11..  This quote is from the introduction to the IMA catalogue edited by Nick A. He also has the Black Box <\/em>essay in the same publication.<\/p>\n\n\n\n

4.Wikipedia: http:\/\/en.wikipedia.org\/wiki\/Hans_Haacke<\/a><\/p>\n\n\n\n

5. (See Correction above) EDITOR\u2019S NOTE: Steyerl has mentioned Hadid on other occasions.<\/p>\n\n\n\n

6. Bullets from the Black Box: Hito Steyerl\u2019s Is the Museum a Battlefield? and Guards<\/em>, p. 186, in Nick Aikens ed., Too Much World: The Films of Hito Steyerl, Ibid p.187<\/p>\n\n\n\n

7.Santiago Sierra, 7 forms measuring 600 x 60 x 60cm, constructed to be held horizontal to a wall, GoMA, Brisbane, 20-28 November 2010<\/p>\n\n\n\n

http:\/\/www.qagoma.qld.gov.au\/exhibitions\/past\/2010\/santiago_sierra<\/p>\n\n\n\n

\"Hito<\/a>
Hito Steyerl, installation view. \u201cHOW NOT TO BE SEEN A Fucking Didactic Educational.Mov File (2013)\u201d, installation. HD video 00:14:00. Copyright Hito Steyerl. Courtesy Wilfried Lentz Rotterdam. Photo Credit: Richard Stringer.<\/figcaption><\/figure>\n\n\n\n
\"\"
Hito Steyerl, installation view. \u201cHOW NOT TO BE SEEN A Fucking Didactic Educational.Mov File (2013)\u201d, installation. HD video 00:14:00. Copyright Hito Steyerl. Courtesy Wilfried Lentz Rotterdam. Photo Credit: Richard Stringer.<\/figcaption><\/figure>\n\n\n\n
\"\"
Hito Steyerl, installation view. \u201cAdorno\u2019s Grey (2012)\u201d, single channel HD video projection, 00:14:20, four angled screens, wall plot, photographs. Copyright Hito Steyerl. Courtesy Wilfried Lentz Rotterdam.<\/figcaption><\/figure>\n\n\n\n
\"\"
Hito Steyerl, \u201cStrike\u201d, installation with 46\u201d-flatscreen mounted on two free standing poles video, HDV, 28 sec. 2010, Copyright Hito Steyerl,. Courtesy Wilfried Lentz Rotterdam<\/figcaption><\/figure>\n\n\n\n
\"\"
Hito Steyerl, \u201cHow Not to be Seen: A Fucking Didactic Educational\u201d, MOV File, HD video file, single screen, 14 minutes. 2013. Copyright Hito Steyerl. Courtesy Wilfried Lentz Rotterdam.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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