The Unfair Fair: The ones that got away

Friday 22 February 2008

The ones that got away

ARTISTS: Bik van der Pol
TITLE: Dedicated
MEDIA: Paper, felt pen

We are devoting this page to all the people who missed our last show

www.bikvanderpol.net

ARTIST: Dane Mitchell
TITLE: Trap #1
MEDIA: Adhesive fly-paper

Device for trapping unwanted gallery visitors.

Click here for more info on Dane Mitchell's work

About

This blog catalogues the inaugural UNFAIR FAIR, which took place in Rome from Friday 29 February to Monday 3 March 2008. The first UNFAIR FAIR project was a sort of event, situation, exhibition, intervention, action and infiltration timed to coincide with two new contemporary art fairs in Rome - ARTEcontemporaneamodernaROMA and ROMA (The ROAD TO CONTEMPORARY ART). The UNFAIR FAIR is in no way formally associated with these art fairs, though it does have a strategic relation to the mainstream economy they represent. Whereas the raison d'être of the contemporary art fair may be characterised by maximization and accumulation, the conditions of the UNFAIR FAIR relate more comfortably to the states of minimization and disintegration. The aim of the UNFAIR FAIR is to show the process of artistic production and transitional art works that index broader practices by each of the invited artists.
Click here for further information

The Principle of Equivalence - Well done, badly done, not done

In 1966, Robert Filliou proposed that the world economy no longer be considered from a political angle, but rather from a poetic point of view, so that work as pain would become work as play. From 1968, he developed his Principle of Equivalence - the principle of the equality in value of the Well Done, the Badly Done and the Not Done. Filliou proposed an unfinished work, by essence not done, but in the process of being done, realised in a state of "Permanent Creation" - "to decide nothing, to choose nothing, to want nothing, to possess nothing, fully awake, sitting quietly, doing nothing."

Going, going gone for ... how much?

The highest price ever paid for a Francis Bacon (£14 million), for a photograph (an Andreas Gursky, 1.7m)... all auction records were shattered in London last week. But who is buying art at these prices - and, frankly, is it worth it? Carole Cadwalladr went in search of the top bidders.

The Observer
Sunday February 11, 2007
Click here to read the article

Silly money

5 Dec 1766
Date of first sale held in Pall Mall, London by James Christie, founder of Christie's

$104.168,000
Record sale at a fine art auction: for Picasso's Garcon a la Pipe, May 2004, Sotheby's, New York

£186,645,960
Value of total sales realised last week at Sotheby's, London

40
Record number of days for an auction sale (for Duke of Buckingham's collection at Stowe House by Christie's in 1848)

£2.51bn
Total global arts sales by Christie's in 2006

85
Number of works sold for over £1m last week at Sotheby's and Christie's, London

£1.7m
The record price for a photograph sold at auction (Andreas Gursky's 99 Cents II, Diptychon sold last week at Sotheby's, London)

£70.4m
Total revenue from Christie's Post War and Contemporary Art Sale last Wednesday. This broke the record set by Sotheby's just 24 hours earlier for a contemporary art auction in Europe.

It is not the passion (whether of objects and subjects) for substances that speaks in fetishism, it is the passion for the code, which, by governing both objects and subjects, and by subordinating them to itself, delivers them up to abstract manipulation. This is the fundamental articulation of the ideological process: not in the projection of alienated consciousness into various superstructures, but in the generalization at all levels of a structural code.
Jean Baudrillard, Fetishism and Ideology, 1981

A true abstract machine has no way of making a distinction within itself between a plane of expression and a plane of content because it draws a single plane of consistency, which in turn formalizes contents and expressions according to strata and reterritorializations. The abstract machine in itself is destratified, deterritorialized; it has no form of its own (much less substance) and makes no distinction within itself between content and expression, even though outside itself it presides over that distinction and distributes it in strata, domains, and territories. An abstract machine in itself is not phyiscal or corporeal, any more than it is semiotic; it is diagrammatic (it knows nothing of the distinction between the artificial and the natural either). It operates by matter, not by substance; by function, not by form. Substances and forms are of expression “or” of content. But functions are not yet “semiotically” formed, and matters are not yet “physically” formed. The abstract machine is pure Matter-Function — a diagram independent of the forms and substances, expressions and contents it will distribute.
Gilles Deleuze and Felix Guattari, A Thousand Plateaus

The fundamental event of the modern age is the conquest of the world as a representation. The word "picture" (Bild) now means the structured image (gebild) that is the creature of man's producing which represents and sets before. In such producing, man contends for the position in which he can be that particular being who gives the measure and draws up the guidelines for everything that is.
Martin Heidegger, 'The Age of the World Picture', published in 1952, first proposed in a lecture delivered in 1938.