Re: <documenta X><blast> electronic artspaces
Bracha Lichtenberg - Ettinger (bracha@easynet.fr)
Wed, 2 Jul 1997 19:00:16 +0200
Nancy
you have described your intensive and moving rapport of exchange with and
artwork in an actual gallery space, and you are asking:
>How can I create an
>electronic environment in which this relationship between viewer and
>artwork is equally explicit?
a question which is a real challange to some artists on the list who are
working with-in electric environment, and maybe they can share some
experience about their own way to transform an electonic netspace into an
affective space of exchange with others?
>This is a problem of a curation practice
>which seeks to make the audience into artists.
For Blanchot, the reader somehow ends the writing.
Joseph Beuys believed that audience are in potential artists. Is this an
autopian view?
for Duchamps, the viewer and the environment participate in turning an
object into an artobject by accepting it as such and by presenting it in an
artspace. Is the viewer an artist in this frame? and to our riddle: what
are the particularities of a space that does allow transformation?
I will propose something which may open further the quetion:
Does co-emergence in the netspace allows its transformation into a
transferential borderspace between individuals?
in a matrixial borderspace, artist and viewer co-emerge in divers ways with
artwork and by artwork, sharing-in-difference the screen of Vision. Artist
and viewer are not in passive/active contradiction in relation to the
screen, yet they don't amalgamate either, they are not the same, and they
are not symmetrical. They exchange and keep a distance in proximity that
allows the artist a freedom to act and the viewer emphatic com-passion but
also some critical distance and a freedom to re-in/di-fuse: a possibility
for re-diffusion and re-infusion of elements in the transferential
borderspace where elements neither fuse nor refuse each other.
Re-in/di-fusing with-in the matrix opens a critical space of subversion and
resistance for the viewer too, but only in as much as the viewer did enter
an alliance with the artwork: a critical space with-in.
Bracha