kkoagulaa vs. Altermodern

Refer to the earlier post: (The Avant-Garde Will Eat Itself, or on a clear day you can see Jörmungandr choking on his own tail)

And let’s talk about this.

Avant-garde (pronounced /ɑvɑ̃ gɑʁd/) in French means “front guard”, “advance guard”, or “vanguard”.[1]experimentalart and culture. The term is commonly used in French, English, and German to refer to people or works that are or innovative, particularly with respect to art and culture.

Banks Violette (born 1973, Ithaca, New York) is an artist based in New York.

Death metal, ritual murder and teenage suicide are starting points for Banks Violette. His work is notable for combining references to excess from youth culture with minimalist form, often using glossy black and ghostly white materials. Citing examples where musical lyrics become instigating factors to real-life violence, Violette refers to an over-identification with fiction, where fantasy and reality are blurred.

Hmmm… The Market As Performance Art, Art As Commodity, taste makers seeking for a raison d’etre, journo’s and commentators whipping themselves into a froth. Case in point: Altermodern: Tate Triennial 2009, an event, a declaration and a curator that have the art press twisting themselves inside out. Postmodernism has died a thousand deaths, but we do wait for curators at large institutions in visionary and creative stasis to tell us when the nightmare is over before we accept it.

This connects with an article I posted to Alterati.com around the wild and wooly entertainment spectacular that was the 2008 US election. Admittedly, I held the thing together with spit and duct tape, but those protest didn’t turn out to be more than the prisoner’s last meal before execution, did they? A couple day of noise and the livestock went back to their pens and accepted whatever was handed to them as slops.

What is this all about?

Well, what is presented by living artists at such edifices as the Tate is art sanctioned by the moneyed classes, it either confirms or showcases their control and soothes their sensibilities, or is “edgy” and “provocative” in the same way the jesters filled that function at court. The middle-class identified are often thrown a bone to keep them coming, and to move them to pledge to institutions in the US. (“Middle-class identified includes the actual middle class, but also those who are not middle class financially. There are those groups of low wage earners who don’t get their hands dirty in their work who are encouraged to identify as  middle class to keep them on the hamster wheel, as well as retail management proxies who kept the appearance of financial comfort by buying into the credit ponzi scheme which has been the illusion of prosperity from Reagan up to the recent bank and credit collapse.)

Through a hollowing out of the body of art as a vital and living force juxtaposed the harrowing evil that is represented by Thomas Kinkade on one side with “pile of sticks in the corner” art and “chocolate sauce enema while whistling Dixie” performances on the other. Of course, the hip and precious have been delighting in a sort of representative painting in the guise of a very Satanic flavor of kitsch in the last few years. (wink, wink, aren’t we clever and detatched…)

We’re happy to see so many people discussing art this past week, but will this conversation lead to anything meaningful? The herd of artists and institution is about to be thinned through the loss of carreerists, speculators and glamour-chasing poseurs to whatever will give them money and attention, wait and see.

Excellent.

What we present here is our answer to the Altermodern Manifesto with the kkoagulaa manifesto, which preceded the grand Altermodern declaration by many months and which we declare to be more revolutionary, more comprehensive and a million times more relevant, for it was screamed from the wilderness.

And next up will be our answer to Jonathan Jones’ wailing cry that:

Art as we know it is finished

A new modernity is emerging, reconfigured to an age of globalisation – understood in its economic, political and cultural aspects: an altermodern culture

Increased communication, travel and migration are affecting the way we live

Our daily lives consist of journeys in a chaotic and teeming universe

Multiculturalism and identity is being overtaken by creolisation: Artists are now starting from a globalised state of culture

This new universalism is based on translations, subtitling and generalised dubbing

Today’s art explores the bonds that text and image, time and space, weave between themselves

Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication.

The Tate Triennial 2009 at Tate Britain presents a collective discussion around this premise that postmodernism is coming to an end, and we are experiencing the emergence of a global altermodernity.

Nicolas Bourriaud
Altermodern – Tate Triennial 2009
at Tate Britain
4 February – 26 April 2009

thee kkoagulaa manifestoooo (Alpha Test)

This statement will evolve as we evolve, as you respond and remix it, as worlds collapse and return…

###

This manifesto is a living document, constantly evolving, part of the process of art itself. kkoagulaa is a living, constantly evolving entity, a shout from the mountaintop proclaiming the primacy of the act of creation.

All life is a collage of every form that has been engaged in a dance with the chaos that calls forth new forms. Order dissolves into chaos and then collapses into a higher form of order. This holds true for galaxies, ecosystems, empires and civilizations. The Universe, society, culture manifests in eternal change, and so should music and art.

The artifacts of kkoagulaa too are not so many calcified forms, but moments of the process of discovery captured. In a time when the business and cultural role of music and art is becoming increasingly destabilized, a quickening of chaotic activity ends up opening up new possibilities. This period of chaos before new structures coalesce into the next orthodoxy, before a possible return to and strengthening of corporate hegemony, the creative community has an opportunity to stretch out beyond safe art and safe social functions.

Better still, we see an opportunity to include everyone when we talk about the creative community. Not in theory, not as a fluffy bromide to flatter an “audience” or a way to make “customers” feel included in something when they’re nothing but another resource to be exploited. Art exists for you to shape it, hijack it and remake, remix, reiterate and even reject it. It is for you to inspire thought, critical thinking, re-consideration.

You are part of kkoagulaa. Your grandma is a node of kkoagulaa. Your cat is integral to kkoagulaa. Art is commentary on society and culture, whether it is intended to or not. We have been sold a notion that art is something the majority is to sit back and passively observe, if art plays a role in daily life at all. It is vital that you reject that notion. Throw it out, public, go on, take the next step.

kkoagulaa declares that society, culture and all actions in space-time are examples of art, and by extension magic, the continued creation of the Universe. All life, all processes, all art and the Universe is partially finished. Nothing will be done until the Universe collapses in on itself. And even then, the process begins anew.

You create the patterns you see in everything you behold, hear, touch and think about. You create the meaning of a work of art. By looking at it, listening to it, reflecting on it, you complete the creative act. should you take that symphony, piece of writing or painting and add your own touch, cut it up and recombine the elements, you bring the process further.

###

Further Reading:

http://www.frieze.com/issue/article/tate_triennial_2009/

http://www.frieze.com/blog/entry/altercritics/

http://stewarthomesociety.org/blog/?p=550

http://moot-blog.blogspot.com/2009/02/altermodern.html

http://www.alterati.com/blog/?p=2093

http://imomus.livejournal.com/440487.html

http://imomus.livejournal.com/440637.html

http://imomus.livejournal.com/441059.html

http://imomus.livejournal.com/441132.html

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6 Responses

  1. […] kkoagulaa vs. Altermodern Posted on 6 March, 2009 by choronzon333 | Edit […]

  2. […] kkoagulaa placed an interesting blog post on kkoagulaa vs. AltermodernHere’s a brief overviewRefer to the earlier post: (The Avant-Garde Will Eat Itself, or on a clear day you can see Jörmungandr choking on his own tail) And let’s talk about this. Avant-garde (pronounced /ɑvɑ̃ gɑʁd/ ) in French means “front guard”, “advance guard”, or “vanguard”. [1] experimental art and culture . The term is commonly used in French, English, and German to refer to people or works that are or innovative, particularly with respect to art and culture . Banks Violette (b […]

  3. I very actively will my own work to both progress and degenerate, whereas most contemporary London based artists appear incapable of consciously taking their activities to any kind of logical or even illogical conclusion. These artists can only go backwards, they’ve no where else to go. Since artists are a deformed prefiguration of communised and thus disalienated individuals, and only those artists who actively attack their privileged position as specialist non-specialists can be considered in any sense progressive, by denouncing art I am able to demonstrate that I possess a true understanding of it. In a communist society it will be possible if not desirable for everybody to be like me. That said, once we’ve realized our species being, it’s probable that I will no longer wish to be an egotist in the morning, a porn star in the afternoon, and a critical critic at night.

  4. “I very actively will my own work to both progress and degenerate”

    I find that phrase fascinating, and find myself in approval. As a musician, I often subvert or avoid the standardizations in production techniques, a tendency that scares collaborators in many cases. (This is not the case with kkoagulaa, where total freedom is the first principle.) The modern musical audience is trained to find the nailing of a narrow range of style, melodic and harmonic license and all elements squeezed through auto-tune and hard compression impressive. This is the case within “underground” circles as well, at least in the Anglo-American world.

    Artists going backwards, and the assumed truism that “everything has been done” is but the limit placed by imagination, and perhaps a bit self-congratulatory on behalf of human culture within the confines of historical memory. This attitude calls for a world like that found in Hesse’s “The Glass Bead Game”. Of course, many readers failed to get the point Hesse was making and tried to construct the game.

    …disalienated, I’ll have to meditate on that word. It expresses a state that seems to me to only be possible in this stage of history only for death-seeking and masochist individuals.

  5. […] Mr. Trippy brought up how artist would function in a communist society in his comment on our answer to Altermodern, the attempt to transcend post-modernism, or of one curator to increase his international profile. […]

  6. […] I addressed this in a post on the kkoagulaa blog: […]

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