ARTBASE (1)
BIO
Belgrade artists Marija Vauda and Nikola Pilipovic have been
collaborating as MANIK since 1999.Their work reflects the
march of history, sometimes literally outside their studio, and a
dialogue with the international artistic community through
organisations and events such as Rhizome and Free Manifesta. Tiija is
their first weblog piece, their previous work has been in mediums as
diverse as video, performance, happenings, email, painting and
installation.
collaborating as MANIK since 1999.Their work reflects the
march of history, sometimes literally outside their studio, and a
dialogue with the international artistic community through
organisations and events such as Rhizome and Free Manifesta. Tiija is
their first weblog piece, their previous work has been in mediums as
diverse as video, performance, happenings, email, painting and
installation.
PLASTIC BUDDHA AND MANIK
This mail is something so special we couldn't resist ...
MANIK
>salvatore.iaconesi@fastwebnet.it wrote:
>reality has several levels.
Would you,please tell us how many?
>no matter when/where/who you are you'll have just
>the slightest hint of what really goes on.
We suppose you could tell us "what's going on"?
Or you have some kind of advantage regarding
your ignorance.
>who cares about who the goodboys and badboys are?
Just few days ago Mr.Ahtisari,man who make a decision
about my country (Serbia)told in public that we are as
nation 'bad',and this mean that we could ,because of his
words, endure heavy political consequence.So,don't push
with this melancholic "Everything's relative..."nonsense.
>no revolution is possible,
Did we mentioned this word...revolution.Don't use your day dreams
in important thing like is firs direction to unknown people.
>anyway. why bother understanding where the "good" is?
Your spleen is disgust.
>nature gives a hint that's more precious than anything you can achieve thr=
ough
>media, art, violence or whatever: the notion that there are thresholds.
What is nature?How could you explain nature.From which place,which methodol=
ogy you are going to use for it...?Kid we are too old for this shit.
>up to a certain threshold everything works just fine. as soon as you step=
away
>from it, no matter how little the step, things turn into chaos.
In symmetrical interval in time we could see enlightened
people on Rhizome_Raw.And every time it's unpleasant to read their texts.
Those people just like you are out of reality,but on wrong way,like drug ad=
dict.
We suppose you've read some Zen books?This thinks you learn now MANIK alrea=
dy forgot.
So tell us something about chaos,from which point you are going to try to e=
xplained chaos to us: physical,psychiatry,philosophical...some other way?
>small steps in a certain direction can turn into huge differences (along=
>unexpected directions), a few steps ahead.
This is good!But what about people without legs?
>"sadness and grief" have no meaning in nature. i can bow to that.
This is quotation.Are you talking with some certain posture
or you expose your philosophy in general?
>we're loosing language to a mass-culture made up by aligning semantic buil=
ding
>blocks that someone else has prepared for us.
Who was that?When did he(they)prepared that for us?
And who have courage to do think like that with semantic?This is criminal a=
ct,you know.
>trying to understand everything takes you nowhere. and this is true for 9/=
11,
>for the NMA discussion, for when i go to the grocery and the lady at the=
>counter starts with her linguistic psichedelia while talking about
>international issues, for when i just can't find a pair of matching socks.=
...
Life's sad thing.
>everyone is an expert. truth doesn't exist.
Read lot of books,eat moderate,don't smoke,don't use drugs(even grass could=
be bad for some people).
And no more free lessons!
MANIK
MANIK
>salvatore.iaconesi@fastwebnet.it wrote:
>reality has several levels.
Would you,please tell us how many?
>no matter when/where/who you are you'll have just
>the slightest hint of what really goes on.
We suppose you could tell us "what's going on"?
Or you have some kind of advantage regarding
your ignorance.
>who cares about who the goodboys and badboys are?
Just few days ago Mr.Ahtisari,man who make a decision
about my country (Serbia)told in public that we are as
nation 'bad',and this mean that we could ,because of his
words, endure heavy political consequence.So,don't push
with this melancholic "Everything's relative..."nonsense.
>no revolution is possible,
Did we mentioned this word...revolution.Don't use your day dreams
in important thing like is firs direction to unknown people.
>anyway. why bother understanding where the "good" is?
Your spleen is disgust.
>nature gives a hint that's more precious than anything you can achieve thr=
ough
>media, art, violence or whatever: the notion that there are thresholds.
What is nature?How could you explain nature.From which place,which methodol=
ogy you are going to use for it...?Kid we are too old for this shit.
>up to a certain threshold everything works just fine. as soon as you step=
away
>from it, no matter how little the step, things turn into chaos.
In symmetrical interval in time we could see enlightened
people on Rhizome_Raw.And every time it's unpleasant to read their texts.
Those people just like you are out of reality,but on wrong way,like drug ad=
dict.
We suppose you've read some Zen books?This thinks you learn now MANIK alrea=
dy forgot.
So tell us something about chaos,from which point you are going to try to e=
xplained chaos to us: physical,psychiatry,philosophical...some other way?
>small steps in a certain direction can turn into huge differences (along=
>unexpected directions), a few steps ahead.
This is good!But what about people without legs?
>"sadness and grief" have no meaning in nature. i can bow to that.
This is quotation.Are you talking with some certain posture
or you expose your philosophy in general?
>we're loosing language to a mass-culture made up by aligning semantic buil=
ding
>blocks that someone else has prepared for us.
Who was that?When did he(they)prepared that for us?
And who have courage to do think like that with semantic?This is criminal a=
ct,you know.
>trying to understand everything takes you nowhere. and this is true for 9/=
11,
>for the NMA discussion, for when i go to the grocery and the lady at the=
>counter starts with her linguistic psichedelia while talking about
>international issues, for when i just can't find a pair of matching socks.=
...
Life's sad thing.
>everyone is an expert. truth doesn't exist.
Read lot of books,eat moderate,don't smoke,don't use drugs(even grass could=
be bad for some people).
And no more free lessons!
MANIK
NMA-Not My Art
...The practices of NMA represent an emancipatory movement: artists
refused to accept the traditional assignments and definitions of roles as
well as the value-system of 'classic'art criticism and theory. The factors
that constitute the system of meaning of art, and its institutions, were
rendered problematic. Craftsmanship and subjective expression were renounced
in favor of a new positive emphasis on the process of planning and
conception. Philosophical and critical considerations upon the production
and function of NMA took center stage. This led to a new perspective on the
economic interrelations of art..."
(you should change every NMA in text with term conceptual)
I've find this text in http://foundation.generali.at (information in
e-flux,CONCEPT HAS NEVER MEANT HORSE).
After 40 years people try to re-define history,meny names from conceptual
art I remember who was in focus that time now doesn't existed in new
distribution of 'aesthetic/history'as value.Bit hysteric attempt to make
hierarchy,history and valid theory of NMA is nice,because it must be
starting point-suner> better.Posteriori(in this case I take this term from
Duchamp )showing fascinate strength to be over all aesthetic(of course
aesthetic is necessary to make right here and right now some
'order').Also"Place from where you talk"(L.Wittgenstein)could be decisive
for quality of your insight,for your ideological determination.Still,we are
helpless like people from 70-is in their attempt to understand what's
happened with their 'reality'(essence of 'reality's in art).RAF,Brigade Rose
then,911-state terrorism and Al Quaida now.Problem to detect
"right"side,"good boys"(that time fight against growin power of corporate
capitalism,now fight between two ambition for global domination).We can't
recognize this perplexity as something universal,but you should be careful
when you see in Beate...site Ulrike Meinhof,and in same time in Lichty text
his feeling of:"sadness and grief"quality of emotions are different,but
images and words are the same.Both are significant for our time ,and both
are completely different in their significance now than in that time.Every
generation starting from beginning.
MANIK
refused to accept the traditional assignments and definitions of roles as
well as the value-system of 'classic'art criticism and theory. The factors
that constitute the system of meaning of art, and its institutions, were
rendered problematic. Craftsmanship and subjective expression were renounced
in favor of a new positive emphasis on the process of planning and
conception. Philosophical and critical considerations upon the production
and function of NMA took center stage. This led to a new perspective on the
economic interrelations of art..."
(you should change every NMA in text with term conceptual)
I've find this text in http://foundation.generali.at (information in
e-flux,CONCEPT HAS NEVER MEANT HORSE).
After 40 years people try to re-define history,meny names from conceptual
art I remember who was in focus that time now doesn't existed in new
distribution of 'aesthetic/history'as value.Bit hysteric attempt to make
hierarchy,history and valid theory of NMA is nice,because it must be
starting point-suner> better.Posteriori(in this case I take this term from
Duchamp )showing fascinate strength to be over all aesthetic(of course
aesthetic is necessary to make right here and right now some
'order').Also"Place from where you talk"(L.Wittgenstein)could be decisive
for quality of your insight,for your ideological determination.Still,we are
helpless like people from 70-is in their attempt to understand what's
happened with their 'reality'(essence of 'reality's in art).RAF,Brigade Rose
then,911-state terrorism and Al Quaida now.Problem to detect
"right"side,"good boys"(that time fight against growin power of corporate
capitalism,now fight between two ambition for global domination).We can't
recognize this perplexity as something universal,but you should be careful
when you see in Beate...site Ulrike Meinhof,and in same time in Lichty text
his feeling of:"sadness and grief"quality of emotions are different,but
images and words are the same.Both are significant for our time ,and both
are completely different in their significance now than in that time.Every
generation starting from beginning.
MANIK
thisisamagazine
M. River" <mriver102@yahoo.com>send us:
http://www.thisisamagazine.com/
THIS IS ISRAELI AGGRESSION(holocaust)THIS ISN'T ISRAELI AGGRESSION
MANIK,AUGUST 2006.
http://www.thisisamagazine.com/
THIS IS ISRAELI AGGRESSION(holocaust)THIS ISN'T ISRAELI AGGRESSION
MANIK,AUGUST 2006.
individualisation
nat muller <nat@xs4all.nl>wrote:
After the age of individualisation, now the 'public' seems to be the
focus of attention. In the first weekend of September (2006), De Balie,
centre for culture and politics in Amsterdam, will explore the new
forms of public culture, which we think we see emerging in all kinds of
unlikely places around us - primarily by asking questions such as:
Where are the new forms of public discourse and debate? Is a new shape
of the 'public' without movements emerging? How does such a thing work?
How important are the new forms of knowledge sharing such as Wikipedia
and the various digital commons? How sustainable are they? How to
handle public fear and the obsession for public safety and
hyper-surveillance? How can we utilise public space in novel ways as a
space of encounter and surprise, rather than an extended shopping mall
(beyond 'reclaim the streets')?
The challenge is to go beyond the eternal lamentations of the decline
and fall of the 'public" (public space / public man / public culture).
Merely offering a critique is not enough. The critique needs to be
updated and nuanced, public culture needs to be reinvented!
There is such a thing as society!
The 1990s are sometimes described as the era without social movements.
In-between the fall of the Berlin Wall and the crash of Nasdaq many
residents of Western countries lived in a happy illusion that
liberalism and democracy had achieved their final victory (the illusion
of the 'End of History'). With this triumph public culture seemed a
redundant anachronistic notion henceforth. However, recent events have
shown that public culture is remarkably alive - from the World Social
Fora, to the mass mobilisation against the CPE-labour laws in France
and the on-going precarity debate, to the cultures of information and
knowledge sharing of the digital commons in their various guises. The
era without (the necessity) of social movements appears to be over, but
the new social formations are unfamiliar, heterogeneous, puzzling,
contradictory, in need of clarification...
The Public Desire is a kaleidoscopic weekend program full of debates,
conversations, performances, interventions, public cinema, art projects
and discussions about old and new forms of public culture.
MANIK wrote:
This form of 'social' re-investigation and re-questioning serve for their '=
moderators'and 'curators'
to get some money and good reference in their CV.Otherwise all those elepha=
nt shit 'Projects' are boring,put on wrong and exceed premise,lost in space=
between personal ignorance and hypocrisy...We wonder how this people manag=
e to be folly in every segment of their text?
After the age of individualisation, now the 'public' seems to be the
focus of attention. In the first weekend of September (2006), De Balie,
centre for culture and politics in Amsterdam, will explore the new
forms of public culture, which we think we see emerging in all kinds of
unlikely places around us - primarily by asking questions such as:
Where are the new forms of public discourse and debate? Is a new shape
of the 'public' without movements emerging? How does such a thing work?
How important are the new forms of knowledge sharing such as Wikipedia
and the various digital commons? How sustainable are they? How to
handle public fear and the obsession for public safety and
hyper-surveillance? How can we utilise public space in novel ways as a
space of encounter and surprise, rather than an extended shopping mall
(beyond 'reclaim the streets')?
The challenge is to go beyond the eternal lamentations of the decline
and fall of the 'public" (public space / public man / public culture).
Merely offering a critique is not enough. The critique needs to be
updated and nuanced, public culture needs to be reinvented!
There is such a thing as society!
The 1990s are sometimes described as the era without social movements.
In-between the fall of the Berlin Wall and the crash of Nasdaq many
residents of Western countries lived in a happy illusion that
liberalism and democracy had achieved their final victory (the illusion
of the 'End of History'). With this triumph public culture seemed a
redundant anachronistic notion henceforth. However, recent events have
shown that public culture is remarkably alive - from the World Social
Fora, to the mass mobilisation against the CPE-labour laws in France
and the on-going precarity debate, to the cultures of information and
knowledge sharing of the digital commons in their various guises. The
era without (the necessity) of social movements appears to be over, but
the new social formations are unfamiliar, heterogeneous, puzzling,
contradictory, in need of clarification...
The Public Desire is a kaleidoscopic weekend program full of debates,
conversations, performances, interventions, public cinema, art projects
and discussions about old and new forms of public culture.
MANIK wrote:
This form of 'social' re-investigation and re-questioning serve for their '=
moderators'and 'curators'
to get some money and good reference in their CV.Otherwise all those elepha=
nt shit 'Projects' are boring,put on wrong and exceed premise,lost in space=
between personal ignorance and hypocrisy...We wonder how this people manag=
e to be folly in every segment of their text?