Discover

Where are the Masterpieces of Our Time?

If the notion of the masterpiece pertains to a category of modernist art, then we could certify that in our postmodernity there is no longer a place for them. Historically, one of the first tasks of so-called masterpieces has been to identify a period. This quality of representing the spirit of the time, the zeitgeist,sucked them into higher values on the market, although on occasions their entry into the patrimony of humanity protected them from commercial ups and downs. The question that provides the title for this text is obviously rhetorical, though it interrogates us about those contemporary pieces that possess or acquire a character that represents the zeitgeist. One could carry out a survey amongst professionals and art lovers for examples of these works from the last ten or twenty years. The answers would be a motley assortment. Despite the market trying to inflate the horizon with never-ending promises of the next-big-thing, the durability of these promises is revealed to be ephemeral. However, the market still plays a role, maybe not in the fabrication of masterpieces so much as by raising monuments that aspire to emerge as timeless symbols, at the same time as being representations of historic junctures.

In any consideration of contemporary masterpieces the association with architecture, and the sphere of architects, also ends up being inevitable. Art and architecture. I’m referring to Ai Weiwei with the Olympic stadium in Beijing (2008) (along with Herzog & de Meuron), or more recently the sculpture ArcelorMittal Orbit by Anish Kapoor (also in celebration of the Olympics in London this year). In both instances it’s a case of art in close alliance with capital and power. Now if we established another survey, about the artistic pieces that best represent the current phase of global capitalism, possibly these two would win all the bets. This derives (luckily for us) from the fact that art on its own is incapable, not even with polemics and scandal, of concentrating the attention of the media or the social impact that any masterpiece would claim. Contemporary architecture, or this association of interests between power and capital that I mentioned, does manage, albeit failing on a critical level, as despite their popularity (or populism) these new monuments of cultural spectacle veto their own entry into the pantheon due to their excess and grandiloquence. They don’t serve. It also ends being ironic that both Kapoor and Weiwei have in recent times paid tribute to the Monument to the Third International (1919-1920) by Vladimir Tatlin, the first with his tower in London and the second with Fountain of Light (2007), a personal “version” of Tatlin’s monument but as if it was a huge spider of lights. These pieces converted into spectacle only account for a typical, citational, post-modern style that is of little interest.

Maybe instead of looking in this direction, a more modest type of art could illuminate our inquiry. It is known that the Documenta in Kassel has always been the place where the volatile zeitgeist has had an abode from which to materialise. The accumulated memory of art turns our attention, over and over again to the German rendezvous, and the sediments solidify. The names and works flow in the collective memory. Documenta, quite aside from whether it does or doesn’t produce masterpieces, has always been generous in the elaboration of images that operate as indicators of the zeitgeist. There exists a fairly broad consensus amongst the critics that the work, from the last dOCUMENTA (13) that most aspired to occupy any place of honour, is that of Pierre Huyghe. Untilled (2011-2012) lists in its explanatory sign the following materials: “living entities and inanimate things, made and not made”. Huyghe, a big name within art, can be more or less gratifying, but this work made of materials, animals and rubbish, has to be taken seriously. It would also be naïve here not to see the market (the sign makes it quite clear), however, the difference with respect to the previous examples is notable.

The circulation of images of the no-place indicated by Huyghe amplifies their effect, along with the oral and experiential mythology (who saw the greyhound and who didn´t! or even who saw Huyghe, and who didn’t!). One has to admit with regret that, from the marathon of the dOCUMENTA (13) and the Karlsaue, the installation of Huyghe was left pending. Even so, the circulation of the memories of those who experienced it can be enough; Untilled becomes the work that symbolises the current collapse in to which things have entered. Detritus and composting as metaphors for the spirit of our time, our zeitgeist. The beauty of waste, the no man’s land and abandonment seem to nourish a spirit of decomposition that needs to process, recycle and compost…to become renewed material. We don’t know if it is a masterpiece but Untilled is worthy of entering into the category of non-masterpiece, representing the totality of the world distilling its symptoms of decomposition.

Text previously published at http://www.a-desk.org

Peio Aguirre writes about art, film, music, theory, architecture and politics, amongst other subjects. The genres he works in are the essay and meta-commentary, a hybrid space that fuses disciplines on a higher level of interpretation. He also (occasionally) curates and performs other tasks. He writes on the blog “Crítica y metacomentario” (Criticism and metacommentary).

Recent Posts

Tifkas | Rosie Hastings & Hannah Quinlan Anderson

@Gaybar is a multidisciplinary art project and event series, led by the collaborative duo Rosie Hastings and Hannah Quinlan Anderson. Since their graduation in 2014, they have explored the notion of the ‘gay bar’ spatially, aesthetically and politically by re- and dematerializing it in a variety of formats. Through modes of social celebration, critique, and at times, mourning, @Gaybar commemorates the fight for queer spatiality, virtual and real, whilst discussing contemporary sociopolitical issues such as… [read more »]

Simplexity™: Utopia and Dystopia in the world of Telfar

In a time which has been referred to as postmodern, the grand ideological narratives of the past cease to exist, or are at least reshaped or replaced by meta-narratives1. Idealism and the modernist idea of ‘constant progression’ dominated the 19th and 20th century, nourishing the fabrication of countless Utopias in culture – that is, fantastical ‘nowheres’ of the mind, ‘ideal, imaginary societies.’2 However, in the self-referencing, ironic, cynical, pastiche-ridden climate of contemporary art and fashion,… [read more »]

How to Sleep Faster #5 | Arcadia Missa

How to Sleep Faster is an interdisciplinary journal published by the research project and South London gallery space Arcadia Missa, led by founding director and curator Rozsa Farkas. The fifth volume in the series continues the thematic exploration of precarity developed in the former editions, but moves in to the realm of nihilism and fantasy as a refusal of the current socioeconomic climate. Moving across mediums of critical writing, poetry, net.art, interviews, performance documentation and… [read more »]

XPO Gallery presents ‘Les Oracles’

XPO Gallery Paris opens a new group exhibition entitled ‘Les Oracles’, fully dedicated to the potent, historically problematic conjunction of science fiction and women- curated by hyperactive artist and curator Marisa Olson, with new works featured from artists such as Julieta Aranda, Juliette Bonneviot, Kristin Lucas, and Aleksandra Domanović. Here, Olson discusses the particularities of the exhibition with Jeppe Ugelvig. Jeppe Ugelvig: In which way do the chosen artists incorporate science fiction, or how are… [read more »]

C R A S H | New Scenario

C R A S H Flashing lights of the metropolis. Stretched coaches cruise the steaming asphalt. Never sure what they carry. Hidden behind tinted glass. Like whales they glide through crowded streets, stolid and majestic. for a future IV: but what if we are not alive? Somewhere there among the remnants of the great pacific island, the blooming vortex of the world, roughly between 135°W to 155° Wand 35°N and 42°N in the accelerated rage… [read more »]

Girth Proof | Wickerham & Lomax at Dem Passwords

“I don’t know you, I use you.” — overheard last week at a club in Baltimore, MD Dem Passwords Gallery is pleased to present GIRTH PROOF, an exhibition by Wickerham & Lomax. Wickerham & Lomax have previously looked at collaboration through the lens of best friends, fashion designers, and show runners as surrogates for themselves. Most recently they have identified as gay dads who “gave birth” to a character named BOY’D, the primary figure of… [read more »]

Nissan Yogurty | Kate Sansom

Today, Chrystal Gallery returns after a five year hiatus with its second virtual exhibition, Nissan Yogurty by Kate Sansom. Chrystal’s previous computer rendered show, in October 2010, was curated by Timur Si-Qin and featured Kari Altmann, Charles Broskoski, Lindsay Lawson, Billy Rennekamp, Maxwell Simmer, and Harm Van Den Dorpel. She said “food is the oldest.” Maybe she figured it out that day in Costco? Looking for slivered almonds, and a puffy frame. And also “it’s… [read more »]

Here On Earth | Nick DeMarco

Nick DeMarco’s Here on Earth is currently on view at Interstate Projects in Brooklyn, NY through February 1st. The show is part feature film, part sculptural installation, creating an enjoyably convergent experience. DeMarco casts cut-outs of celebrities including main characters Jennifer Lopez, Paul Newman, and baby Drake into a narrative that is equal parts science fiction, government conspiracy, and family drama. The plot is enforced by a soundtrack full with foley, music, and hired voice… [read more »]

Ask Natasha | How do you art?

Q: How do you art? —Stephanie, 22 A: Other #AskNatasha Natashas include @natashacalis—“I play Claire in the TV series The Firm and Emily in The Possession”—, @natashabure (daughter of Candace Cameron Bure, or Full House’s DJ Tanner)—“…CALIFORNIA. 16. JOY”—, @inatashamarie—“HWIC of Natasha’s Nook™ | Militant WOMANIST | Being Colored is a metaphysical dilemma I have yet to conquer. I KNOW YOU CARE!™”—, and @natashafarani—“Maaf, ada yang bisa dimantu?” I am not jealous of these other… [read more »]

Pier 54 | High Line

In 1971 Willoughby Sharp curated now legendary exhibition Pier 18: for one day, 27 artists were invited to create original works to be exhibited at an abandoned Pier in the Financial District, NYC. Artists Harry Shunk and János Kender photographed the various events, which were not open to the public; the black and white photographs were then exhibited at MoMA. Gordon Matta-Clark suspended himself from a ceiling rafter, Vito Acconci wore a blindfold and had… [read more »]