![]() History is a shape-shifting player, if not an irregular combatant. It acts, it feigns, it keeps on changing. It is not an account of events post factum. ![]() In the example of the kidnapped tank, history invades the hypercontemporary. ![]() Is it possible, in this situation, to update the twentieth-century terminology of institutional critique? Or does one need to look for different models and prototypes? What is a model anyway, under such conditions? How does it link on- and off-screen realities, mathematics and aesthetics, future and past, reason and treason? And what is its role in a global chain of projection as production? They extend from pumping the audience for tweets, to a future of “neurocurating” in which paintings will surveil their audience via facial recognition and eye tracking to check whether the paintings are popular enough or whether anyone is behaving suspiciously. How can one think of art institutions in an age that is defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of the institution have become fuzzy. Is the museum a garage? An arsenal? Is a monument pedestal a military base?īut this opens up more general questions. Apparently, the way into the museum-or even into history itself-is not a one-way street. But this pedestal seems to have acted as temporary storage from which the tank could be redeployed directly into battle. One might think that the active historical role of a tank would be over once it became part of a historical display. According to a local militia, it “attacked a checkpoint in Ulyanovka, Krasnoarmeysk district, resulting in three dead and three wounded on the Ukrainian side, and no losses on our side.” 1 ![]() ![]() It is driven off a WWII memorial pedestal and promptly goes to war. A Soviet battle tank-called IS-3 for Joseph Stalin-is being repurposed by a group of pro-Russian separatists in Konstantinovka, Eastern Ukraine. Whenever I call her I get her answering machine.Ī tank on a pedestal. ![]()
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