Documente Academic
Documente Profesional
Documente Cultură
Art
is
a
Problem
By
Joshua
Decter
December
16,
2013
Joshua
Decter
grapples
with
arts
inherent
contradictions;
the
Los
Angeles
race
riots;
and
a
contemporary
artists
social
allegories
in
response
to
the
Israeli-Palestinian
conflict
in
Art
is
a
Problem.
Art
may
have
become
a
problem
only
because
it
is
no
longer
really
problematic.
Arthowever
we
may
http://www.guernicamag.com/art/art-is-a-problem/
1/13
6/4/2014
choose
to
define,
de-d efine,
re-d efine,
or
un-d efine
itis
on
the
verge
of
becoming
so
thoroughly
assimilated
into,
or
integrated
within,
global
social,
economic,
ideological,
and
institutional
networks
that
it
may
no
longer
be
able
to
pose
any
problems
to
those
systems.
As
a
result,
art
seems
increasingly
insulated
from
deeply
critical
questions
that
would
seriously
compromise
its
validity
or
value.
It
is
also
tenable
to
suggest
that
this
has
been
arts
odd
predicament
for
quite
some
time.
A
more
difficult
question
to
consider
is
whether
art
ever
did
pose
any
problemsand
what
criteria
or
metric
would
we
use
to
measure
this?
Some
would
argue
that
arts
assimilationits
distribution
into
broader
networksallows
it
to
act,
so
to
speak,
upon
the
imaginations
of
more
publics
and
in
increasingly
complex,
subtle
ways
than
at
any
other
time
in
recent
history.
To
others,
arts
ubiquity
merely
tranquilizes
its
transformative
potential.
Sectors
of
the
global
contemporary
art
market
may
have
become
economic
drivers
of
employment
and
wealth,
but
this
does
not
mitigate
the
anxiety
that
comes
with
acknowledging
arts
discomfiting
paradoxes:
it
is
a
creative
practice
that
still
can
generate
meaning
beyond
itself;
a
robustly
investable
class
of
commodity
that
reinvents
the
terms
of
its
own
language;
and
a
specialized
cultural
product
that
aspires
to
critical,
yet
demotic,
social
and
political
germaneness.
Yes,
there
are
circumstances
in
which
art
has
surfaced
as
a
vehicle
of
dissent,
resistance,
protest,
oppositionseeking
to
question
power
and
authority,
intolerance
and
repression,
and
economic
and
social
injustice.
The
variously
termed
political,
social,
critical,
interventionist,
public,
participatory,
and
other
turns
are
testimony
to
ongoing
efforts
at
cultivating
a
verifiable
agency
and/or
utility
for
art
and
artist.
Yet,
paradoxically,
the
more
tolerant
or
liberal
a
society
becomes,
the
more
art
becomes
a
naturalized,
normative
element
within
an
environment
of
unfettered
(and
perhaps
increasingly
undifferentiated)
creative
production.
At
the
same
time,
we
might
say
that
art
embodies
these
self-same
contradictions.
Art
is
an
aporia.
To
express
it
differently:
art
can
only
allegorize
its
indeterminate
relationship
to
itself,
and
to
everything
else.
Critical
writing
may
have
the
capacity
to
cut
through
the
fog
of
arts
ambiguities
and
shed
light
on
its
contradictory
place
in
the
world,
but
such
discourse
can
do
nothing
to
vitiate
these
contradictions.
To
some,
this
is
inspiring;
for
me,
it
is
occasionally
exasperating.
2/13
6/4/2014
Engaging
in
critical
processesi.e.,
questioning,
pressuring,
and
troubling
things
as
they
appear
to
be
may
temporarily
reduce
the
psychic
pain
unleashed
by
the
contradictions
of
art
and
its
global
systems,
even
though
it
is
in
no
way
ameliorative
of
these
conditions.
(For
better
results,
take
Ibuprofen.)
In
order
to
be
critical,
we
must
convince
ourselves
that
our
sovereignty
as
critical
thinkers
is
meaningful
and
tangible,
even
while
acknowledging
that
this
very
sovereignty
is
the
result
of
precariously
occupying
a
mental
space
that
is
at
once
inside
and
outside
power.
We
find
creative,
even
pleasurable,
ways
to
maintain
the
self-d elusiona
suspension
of
disbeliefthat
our
sovereignty
as
critical
beings
is
beyond
contradiction.
It
would
be
hypocrisy
not
to
admit
that
my
criticality
is
located
both
outside
of
and
within
these
contradictions.
If
anything,
this
book
reflects
an
ongoing
struggle
to
reconcile
the
limits
of
criticality
(and
criticism)
with
a
continuing
desire
to
imagine
that
the
questioning
of
things
might
have
some
relevance
beyond
a
relatively
closed
discursive
spice
or
community
(that
is
itself
constituted
both
inside
and
outside
power).
It
is
emblematic
of
the
endless
circularity
of
reconciling
ones
doubt
and
skepticism
with
a
sense
of
commitment
to
art
and
artists.
The
kind
of
thinking
that
privileges
doubt
may
dwell
in
a
precarious
state
in
relation
to
various
audiences
and
receptions
(academic,
non-academic,
or
other),
yet
we
also
understand
that
skepticism
can
be
fodder
for
the
radical
chic
mill.
Doubt
and
skepticism
are
infinitely
marketable.
Its
a
truism
that
criticality
and/or
criticism
is
perpetually
in
crisis,
and
that
dissent
can
be
recuperated
for
other
applications;
e.g.,
dissent
as
an
iPhone
app.
Yet
one
may
also
conceive
of
doubt
as
the
prerequisite
to
a
commitment
to
art,
artists,
and
people.
Once
we
work
our
way
through
doubt,
or
at
least
assuage
our
skepticism,
commitment
and
engagement
may
ensue.
And
so
we
might
consider
doubt
not
as
anathema
to
commitment,
but
rather
as
the
necessary
prerequisite
for
it.
* * *
3/13
6/4/2014
an
urban
topography
steadily
descending
into
social
unrest
and
violence.
It
is
immediately
clear
what
is
happening:
the
predominantly
black
residents
of
that
community
have
begun
to
register
a
general
protest
against
an
acquittal
which
seems
to
re-confirm
their
worst
fears
that
the
countrys
judicial
system
is
inherently
unjust
to
African
Americans,
that
it
systematically
favors
whites.
I
am
angered
by
a
verdict
delivered
by
a
mostly
white
jury
in
a
police
brutality
trial
held
in
Simi
Valleya
Los
Angeles
suburb
with
a
mere
2
percent
black
population.
It
is
clear
that
the
judicial
system
failed
in
this
instance.
The
sense
of
social,
economic,
cultural,
and
political
disenfranchisement
that
must
be
felt
by
black
citizens
within
a
community
racked
by
gang
warfare,
ubiquitous
drug
traffic,
and
black-on-black
crime,
is
difficult
to
imagine.
Following
the
verdict
in
the
Rodney
King
trial,
that
community
let
loose
from
years
of
pent-u p
frustration
regarding
the
cycle
of
economic
and
social
decay,
disempowerment,
and
social
marginalization.
The
class
and
race
conflicts
which
always
seem
to
simmer
beneath
the
surface
of
this
society
reached
a
boiling
point;
for
some,
the
rage
was
unmanageable,
leading
to
a
micro-civil
war:
angry
black
youth
beating
white
motorists
who
had
strayed
into
South
Central,
angry
Korean
businessmen
organized
into
a
paramilitary
organization,
firing
at
looters
in
defense
of
their
properties.
Clearly,
the
beatings,
arson,
and
lootings
were
perpetrated
by
a
relatively
small
contingent
of
irresponsible,
desperate,
or
criminal
elements;
ironically,
it
is
reported
that
the
looters
comprised
a
multiracial
coalition
(predominantly
black,
but
also
Latino
and
Anglo).
But
we
are
all
implicated,
regardless
of
our
race,
cultural
identity,
economic
status,
or
social
class;
it
is
a
question
of
how
we
position
ourselves
in
relation
to
the
complexities
and
contradictions.
Perhaps
I
have
fallen
victim
to
the
media
spectacle
of
the
situation;
maybe
Im
caught
up
in
a
mass
cultural
logic
that
transforms
real
social
upheaval
into
a
theatrical
proliferation
of
televisual
abstraction.
Maybe
my
white,
liberal
identityitself
a
hybrid
site
of
ideological,
emotional
contestationhas
been
coaxed
towards
an
enhanced
self-criticality.
Cornel
Wests
1990
essay,
The
New
Cultural
Politics
of
Difference,
has
been
useful:
http://www.guernicamag.com/art/art-is-a-problem/
4/13
6/4/2014
In
the
recent
past,
the
dominant
cultural
identities
have
been
circumscribed
by
immoral
patriarchal,
imperial,
jingoistic,
and
xenophobic
constraints.
The
political
consequences
have
been
principally
a
public
sphere
regulated
by
and
for
well-to-d o
White
males
in
the
name
of
freedom
and
democracy.
The
new
cultural
criticism
exposes
and
explodes
the
exclusions,
blindness,
and
silence
of
this
past,
calling
from
it
radical
libertarians
and
democratic
projects
that
will
create
a
better
present
and
future.
The
new
cultural
politics
of
difference
is
neither
an
ahistorical
Jacobin
program
that
discards
tradition
and
ushers
in
new
self-righteous
authoritarianism
nor
a
guilt-ridden
leveling
anti-imperialist
liberalism
that
celebrates
token
pluralism
from
smooth
inclusion.
Rather,
it
acknowledges
the
uphill
struggle
of
fundamentally
transforming
highly
objectified,
rationalized,
and
commodified
societies
and
cultures
in
the
name
of
individuality
and
democracy.
This
means
locating
the
structural
causes
of
unnecessary
forms
of
social
misery
(without
reducing
all
such
human
suffering
to
historical
causes),
depicting
the
plight
and
predicaments
of
demoralized
and
depoliticized
citizens
caught
in
market-d riven
cycles
of
therapeutic
releasedrugs,
alcoholism,
consumerismand
projecting
alternative
visions
analysis
and
actions
that
proceed
from
particularities
and
arrive
at
moral
and
political
connectedness.
This
connectedness
does
not
signify
a
homogenous
unity
or
monolithic
totality
but
rather
a
contingent,
fragile
coalition-building
in
an
effort
to
pursue
common
radical
libertarian
and
democratic
goals
that
overlap.1
As
an
art
critic
operating
within
the
territory
of
a
privileged
contemporary
art
culture,
how
can
I
hope
to
articulate
a
meaningful
and
persuasive
account
of
the
contradictory
nature
of
our
hybrid
culture?
Who
constitutes
the
audience
for
this
text?
What
are
the
conditions
of
its
receptions?
What
type(s)
of
communications
does
it
establish
within,
and
beyond,
the
parameters
of
the
art
world?
How
do
we
identify
those
parameters?
When
I
extract
a
quote
from
an
African
American
cultural
critic,
incorporating
it
within
my
discourse,
what,
if
any,
are
the
sociopolitical
implications
of
this
act?
In
the
spirit
of
cultural,
racial,
ideological,
political,
and
intellectual
coalition-building,
I
may
be
weaving
an
elaborate
intertextuality,
but
my
desire
is
to
reach
out
beyond
the
rhetorical
enclave
of
academic
discourse,
and
the
institutional
and
social
limitations
attached
to
that
language.
But
reach
out
to
where,
and
to
whom?
The
streets
of
South
Central
L.A.,
or
New
Yorks
Harlem
community?
New
lines
http://www.guernicamag.com/art/art-is-a-problem/
5/13
6/4/2014
of
verbal
and
visual
communication
have
to
be
opened
through
intercultural,
interracial,
inter-
ideological,
inter-political
and
inter-economic
coalitions
and
dialogue.
In
his
essay
Secular
Criticism,
the
Palestinian
American
literary
and
cultural
critic
Edward
Said
called
for
the
critic
to
overcome
the
pernicious
specialization
of
the
insular
academic
realm
(as
a
literal
institutional
space,
as
well
as
a
codified
system
of
theoretical
language-formations),
and
work
to
recognize
the
humanistic
obligations
of
the
intellectual
to
operate,
in
that
potential
space
inside
civil
society,
acting
on
behalf
of
those
alternative
acts
and
alternative
intentions
whose
advancement
is
a
fundamental
human
obligation.2
Following
Said,
I
would
like
to
suggest
a
transformation
of
the
Enlightenment
model
re-inscribed
in
his
text
(e.g.,
acting
on
behalf)
into
a
differently
articulated
conception,
so
that
the
so-called
alternative
can
manufacture
the
self-empowerment
to
act
on
my
behalf,
reversing
Saids
potentially
problematic
hierarchy
of
authority.
Yet
today,
the
penal
system
in
this
country
has
become
the
school
for
a
disproportionate
percentage
of
young
black
men;
the
failure
of
the
public
educational
system
for
the
so-called
inner
city,
low-income
youth
of
this
country
is
pandemic,
and
is
connected
to
other
systematic
problems
within
this
nations
institutional,
social,
and
economic
infrastructure.
The
fiction
of
equal
opportunity
is
made
graphically
evident
at
the
flash
point
of
reactive
urban
violence.
Take
a
good
look
at
todays
America:
the
contradictions
and
complexities
of
racial
segregation
persist,
and
have
become
even
more
firmly
entrenched
within
a
seemingly
vicious
cycle
of
economic,
ideological,
educational,
and
political
relations
which
produce
wide
gulfs
between
cultural
empowerment
and
disempowerment,
representation,
and
non-representation.
A
recent
study
published
in
the
New
York
Times
once
again
indicates
the
almost
absurd
disparity
of
economic
power
between
the
relatively
small
percentage
of
wealthy
Americans
(who
continue
to
control,
proportionally,
the
majority
of
capital),
and
the
low-income
populations
(whose
opportunity
to
improve
their
economic
condition
has
begun
to
deteriorate);
this
is
a
disparity
made
even
more
glaring
as
fortunes
and
opportunities
also
decline
for
the
middle
class.
http://www.guernicamag.com/art/art-is-a-problem/
6/13
6/4/2014
And
so
what
do
people
mean
when
they
use
words
such
as
multiculturalism
or
cultural
difference
in
todays
art
world?
It
is
abundantly
clear
that
cultural
capital
remains
in
the
hands
of
a
select,
primarily
white,
network
of
experts,
specialists,
connoisseur,
galleries,
curators,
collectors,
artists,
writers,
etc.
The
rise
of
the
alternative
space
in
the
early
1970s
attested
to
dissatisfactions
with
the
consolidation
of
the
so-called
mainstream
venues
for
specific
types
of
practices,
and
the
development
and
emergence
of
localized,
community-based
art
centers
within
the
city
similarly
demonstrated
a
desire
for
new
frameworks
of
self-representation
and
self-presentation.
Yet
such
developments
have
produced
a
rather
paradoxical
situation:
the
virtual
segregation
of
practices
by
artists
of
color
(where
African
American,
Asian
American,
Latino,
etc.
who
live
and
work
in
different
urban
contexts
or
communities
other
than
those
officially
sanctioned
by
the
legislators
of
the
supposed
mainstream)
from
other
cultural
venues
that
might
offer
them
a
greater
stake
in
the
art
marketplace.
The
whole
rather
dead-end
issue
of
mainstream
versus
alternative,
center
versus
periphery,
in
terms
of
contemporary
visual
arts
culture
suggests
a
logic
of
inclusion
and
exclusion
that
must
be
overcome
on
conceptual
and
institutional
levels,
for
it
is
clear
that
artists
within
certain
ethnic
communities
beyond
the
domain
of
SoHo
would
like
to
establish
enhanced
degrees
of
cultural-economic
autonomy
and
control
that
suggest
a
productive
interface
(in)between
distinct
urban
sites
of
artistic
production.
Yet,
I
am
also
somewhat
uncomfortable
with
my
own
motivations
as
a
white
art
critic
attempting
to
discuss
issues
of
race
relations,
class,
and
cultural
identity
in
relation
to
the
contemporary
art
world,
particularly
as
I
have
sought
to
bring
into
this
discussion
the
recent
events
in
South
Central
L.A.
as
they
indicate
the
contradictory
status
of
the
notion
of
multiculturalism.
My
discomfort
arises
from
an
understanding,
however
incomplete,
of
the
contradictory
and
complex
nature
of
my
so-called
white
identity,
and
the
degree
to
which
this
hybrid,
unstable
identity
itself
evidences
an
ambivalent
relationship
to
constructing
a
discourse
on
other
cultural,
racial,
and
ethnic
identities.
The
dream:
to
develop
a
more
authentic
understanding
of
cultural
identity
as
a
means
(to
paraphrase
Cornell
West)
of
establishing
or
locating
affiliations
between
distinct
conditions
of
race
and
gender.
Wests
call
for
coalition-building
in
order
to
identify
overlapping
libertarian
and
democratic
agendas
for
whites,
blacks,
and
others,
as
well
as
his
demand
that
the
new
cultural
critics
explore
different
territories
and
avoid
disciplinary
and
institutional
closure
or
insularity,
seem
to
be
essential
prerequisites
for
the
struggle
to
resolve
the
glaring
contradictions
and
enormous
systemic
problems
facing
our
hybrid,
yet
fractious
society.
Notes:
1.
Cornel
West,
The
New
Cultural
Politics
of
Difference,
in
Out
There:
Marginalization
and
Contemporary
Cultures,
ed.
Russell
Ferguson
et.
al.
(Cambridge:
The
MIT
Press
and
New
York:
The
New
Museum
of
Contemporary
Art,
1990).
p.
35.
http://www.guernicamag.com/art/art-is-a-problem/
7/13
6/4/2014
2.
Edward
Said,
Secular
Criticism,
in
The
World,
the
Text
and
the
Critic
( Cambridge:
Harvard
University
Press,
1983).
p.
30.
Revised
version
of
essay
originally
published
in
catalog
for
The
Hybrid
State
exhibition,
Exit
Art,
New
York,
November
2,
1991
through
January
25,
1992.
* * *
Yael
Bartana:
an
aesthetics
of
restorative
justice
deployed
into
the
space
of
quotidian
injustice.
Disputatious
claims
of
belonging
and
emplacement;
boundaries
and
flows;
communication
and
misunderstanding;
historical
narratives
in
contradiction:
These
are
the
preoccupations
of
Yael
Bartanas
post-d ocumentary,
allegorical
practice.
Born
in
Israel
in
1970,
Bartana
makes
work
that
delivers
resonant
poetic-political
reflections
on
the
cultural,
political,
geographic,
psychological,
and
religious
irreconcilabilities
of
the
Israeli
and
Palestinian
peoples.
Indeed,
both
seem
incapable,
in
their
mutually
reinforcing
fears
and
misunderstandings
and
their
reciprocalindeed,
at
this
point,
ritualisticgestures
of
discipline
and
punishment,
of
forging
a
workable
two-state
solution.
Yet
Bartanas
work
cannot
be
considered
activist
in
any
normative
sense.
It
is
best
understood
within
a
broader
context
of
artists
(e.g.,
Emily
Jacir,
the
Atlas
Group
with
Walid
Raad)
who
hybridize
conceptual
structures,
documentary
codes,
and
post-representational
strategies,
deconstructing
assumptions
of
truth
and
stable
ideological
systems
while
remaining
within
the
proximity
of
realpolitik.
Artists
such
as
Bartana,
Jacir,
and
Raad
inhabit
post-colonial,
post-d iasporic
transnational
identities
and
interstitial
real
and
imaginary
geographic
spaces.
Their
practices
reactivate
the
viewers
relation
tonot
complicity
withthe
entanglements
of
these
conflicted
worlds
and
illuminate
the
interdependencies
of
artistic
and
political
labor
for
viewer
and
producer
alike.
http://www.guernicamag.com/art/art-is-a-problem/
8/13
6/4/2014
Bartanas
P.S.
1
showher
first
institutional
exhibition
in
the
U.S.features
several
works
produced
over
the
past
eight
years.
The
earliest
is
Trembling
Time,
2001,
a
deceptively
simple
video
that
embodies
the
contradictions
of
a
society
tangled
up
in
secularity
and
urbanity
on
the
one
hand
and
religiosity
and
a
deep
commitment
to
historical
commemoration
on
the
other.
From
atop
the
Hashalom
Bridge
in
Tel
Aviv,
Bartana
shot
that
citys
main
highway
during
the
event
marking
the
start
of
Israels
Remembrance
Day,
which
honors
fallen
soldiers:
sirens
wail
across
the
country,
broadcast
on
all
media
outlets;
a
minute
of
silence
is
observed;
and
the
nation
briefly
grinds
to
a
halt.
Initially,
it
is
a
rather
mundane
scene.
Cars
and
trucks
pass
below
at
normal
speed,
but
then
velocities
mutate
and
a
subtle
time
lapse
of
sensuous
dissolves
and
fades
makes
it
appear
that
the
vehicles
are
moving
through
one
another,
creating
ghostly
afterimages
and
displacing
real-time
modalities.
A
siren
is
heard;
cars
gradually
come
to
a
stop;
the
passengers
step
onto
the
asphalt,
stand
in
the
middle
of
the
highway,
and
then
return
to
their
vehicles.
We
are
witness
to
a
historically
transcendent
memorialization
that
is
at
once
tangible
and
phantasmica
momentary
break
with
a
normative
order
of
things
that
has,
itself,
become
normalized.
Significantly,
Bartanas
simultaneously
narrative
and
non-narrative
depiction
of
the
episode
is
looped,
alluding
to
the
tautology
that
is
intrinsic
to
all
rituals,
including
rituals
of
non-reconciliation.
The
work
is
testimony
and
counter-testimony,
at
once
documentation
and
a
displacement
or
de-realization
of
the
event
into
other
(i.e.,
aesthetic)
terms
what
might
be
described
as
a
process
of
social
abstraction.
Questions
of
responsibility
and
territory
or
place
come
to
the
surface
in
Wild
Seeds,
2005,
a
two-
screen
installation
that
presents
images
of
a
cluster
of
Israeli
teenagers
playing
a
game
devised
by
Bartana
that
reenacts
the
struggle
by
Israeli
police
to
evict
settlers
from
illegal
outposts.
The
young
actors
take
on
the
requisite
roles:
those
playing
the
settlers
seek
to
establish
themselves
as
an
interlocked,
horizontally
positioned
unit
of
resistance
on
the
ground;
those
playing
the
police
attempt
to
pull
them
apart
and
eject
them
from
their
entrenched
positions.
Yelling
and
screaming
ensue.
On
the
second
screen,
perpendicular
to
the
first,
the
rhetorical
battle
is
translated
from
Hebrew
into
English:
A
Jew
does
not
deport
another
Jew;
Where
is
your
conscience?;
Motherfuckers,
etc.
Smiles
suggest
it
is
all
in
good
fun,
yet
there
are
also
moments
of
uncomfortable
laughter
and
tension,
as
well
as
real
physical
struggle,
mirroring
the
larger
existential
struggle.
We
understand
that
Bartana
has
enacted
a
social-symbolic
episode
that
allegorizes
the
extent
to
which
Israeli
society
has
been
torn
apart
by
territorial
claims,
with
the
state
becoming
the
hegemonic
other,
the
institutional
bad
cop,
in
the
eyes
of
some
extremist
settlers.
Its
a
powerful
indictment
of
the
schizophrenia
of
a
society
that
may
or
may
not
be
able
to
heal
its
largely
self-inflicted
wounds.
Bartanas
practice
gains
force
by
functioning
as
a
response
to
localized
realities
while
at
the
same
time
generating
social
imaginaries
that
productively
dislocate
us
into
regions
of
broader
political
allegory.
Potentially,
this
allegory
operates
on
transnational
terms
and,
possibly,
as
a
means
of
allowing
us
to
project
ourselves
to
territory
beyond
normative
media
representations.
In
Summer
Camp,
2007,
we
http://www.guernicamag.com/art/art-is-a-problem/
9/13
6/4/2014
discover
black-and-white
images
of
people
of
apparently
European
descent
riding
camels
through
an
idyllic
desert
landscape,
cacti
and
palm
trees
blowing
in
the
wind.
A
phrase
appears:
To
the
pioneers
in
Palestine.
It
turns
out
that
were
looking
at
a
print
of
the
1935
Zionist
film
Awodah,
directed
by
Helmar
Lerski,
which,
according
to
curator
Sergio
Edelsztein,
was
commissioned
to
promote
the
immigration
of
European
Jews
to
pre-state
Israel,
hailing
agricultural
development
as
a
collectivizing
epic.
Bartana
recorded
footage
of
the
reconstruction
of
a
house
in
the
Palestinian
village
of
Anata,
near
Jerusalem,
that
had
been
demolished
by
the
Israeli
Army.
The
rebuilding
project
was
organized
by
the
Israeli
Committee
Against
House
Demolitions
(ICAHD)
in
opposition
to
the
Israel
Defense
Forces
tactic
of
razing
homes
suspected
of
housing
militants
or
their
families.
Bartana
skillfully
edited
her
ICAHD
documentation
so
as
to
echo
the
Zionist-socialist-realist
style
of
the
utopian
narrative
of
the
historical
film.
With
composer
Guy
Harries,
she
created
a
new
score
based
on
her
previously
reedited
version
of
Paul
Dessaus
original
heroic-modernist
music
for
Awodah,
now
incorporating
traditional
Arab
music
to
suggest
the
inevitability
of
cross-cultural
hybridization
between
Israel
and
Palestinean
ironic
consequence
of
their
entwined
fates.
We
cannot
help
experiencing
or
reading
one
film
(and
one
history)
through
the
filter
of
the
other.
We
are,
in
other
words,
invited
by
Bartana
to
reflect
on
the
profound
contradictions
of
Israels
settlement
policies
in
the
occupied
territories
in
relation
to
its
own
history.
If
the
Jewish
people
cannot
be
separated
from
the
land
of
their
biblical
heritage,
why
should
there
be
a
different
standard
for
Palestinians,
who
make
their
own
legitimate
claim?
This
transgenerational
dispute
is
now
ultimately
a
question
of
equal
rights
under
the
law,
at
least
within
the
current
terms
of
occupation.
In
its
Tel
Aviv
incarnation,
Bartanas
show,
untitled
at
P.S.
1,
was
called
Short
Memory.
One
recognizes
a
wry
reminder
of
just
how
selective
a
nations
memory
can
be,
and
how
we
forget
that
our
collective
destiny
is
predicated
on
the
fate
of
others.
Bartanas
work
eloquently
reminds
us
of
the
disturbing
psychosocial
media
feedback
loop
of
tit-for-tat
violencethe
trauma
of
conflict
endlessly
reanimated
that
taints
Israelis
and
Palestinians
alike.
By
extension,
she
implicates
all
viewers,
us,
within
a
seemingly
hopeless
complexity
that
is
calling
out
for
imaginative
actsdare
we
say
cultural
and
artistic
operationsof
global
responsibility
and
engagement.
http://www.guernicamag.com/art/art-is-a-problem/
10/13
6/4/2014
Bartana
may
not
be
claiming
that
art
can
ameliorate
calamity,
but
she
does
appear
to
have
just
enough
faith
in
the
emancipatory
potential
of
allegories
of
social
justice,
even
as
her
work
functions
as
an
allegorical
rendering
of
social
injustice.
As
an
artist,
she
can
only
hope
to
reengineer
these
social,
political,
cultural,
and
religious
entanglements
into
another
kind
of
representation,
a
conflictual
zone
of
deferred
imaginary
reconciliations.
Within
her
cartography
of
trauma,
the
land
is
not
transfigured
into
an
essentialized
condition,
but
rather
is
conceived
as
a
post-territorial
space
that
simultaneously
precedes
and
exceeds,
includes
and
excludes,
religion,
culture,
politics,
ideology,
and
perhaps
even
representation
itself.
In
other
words,
the
land
is
a
space
of
possibility
wherein
social
imaginaries
may
cross-pollinate
with
realpolitik.
Might
her
practice
be
understood
as
an
aesthetics
of
restorative
justice
deployed
into
the
space
of
quotidian
injustice?
Revised
version
of
text
on
Yael
Bartanas
survey
show
at
MoMA
PS1,
New
York,
October
19,
2008
through
May
4,
2009.
Originally
published
in
Artforum
International,
April
2009.
Find
Guernicas
interview
with
Joshua
Decter
here
(http://www.guernicamag.com/art/more-problems/)
.
Joshua
Decter
is
a
New
York-based
writer,
curator,
art
historian,
and
theorist.
In
addition
to
Art
is
a
Problem,
Decter
is
co-author
of
a
forthcoming
book
in
Afteralls
Exhibition
Histories
series
on
the
1993
exhibition,
Culture
in
Action.
He
has
curated
exhibitions
at
PS1,
the
Center
for
Curatorial
Studies
at
Bard
College,
Apex
Art,
the
Museum
of
Contemporary
Art
in
Chicago,
the
Kunsthalle
Vienna,
the
Santa
Monica
Museum
of
Art,
and
was
a
curatorial
interlocutor
for
inSite_05.
Decter
founded
the
MA
Art
and
Curatorial
Practices
in
the
Public
Sphere
program
at
the
University
of
Southern
California,
and
has
taught
at
Bard
Colleges
Center
for
Curatorial
Studies,
the
School
of
Visual
Arts,
NYU,
and
other
institutions.
All
texts
excerpted
from
Art
is
a
Problem
(http://www.amazon.com/gp/product/3037641959/ref=as_li_tf_tl?
ie=UTF8&camp=1789&creative=9325&creativeASIN=3037641959&linkCode=as2&tag=gueamagofarta-20)
by
Joshua
Decter.
Preface:
2013
Joshua
Decter
and
JRP|Ringier
Kunstverlag
AG.
The
Fractious
Hybrid
State
(Of
Things):
1992
Joshua
Decter,
Exit
Art,
and
JRP|Ringier
Kunstverlag
AG.
Yael
Bartana:
an
aesthetics
of
restorative
justice
deployed
into
the
space
of
quotidian
injustice:
2009
Joshua
Decter,
Artforum
International,
and
JRP|Ringier
Kunstverlag
AG.
Reprinted
by
permission
of
the
author.
http://www.guernicamag.com/art/art-is-a-problem/
11/13
6/4/2014
(http://www.guernicamag.com/art/more-problems/)
(http://www.guernicamag.com/art/more-problems/)
Joshua
Decter
on
the
intersection
of
doubt
and
commitment
in
art.
South
L.A.,
Twenty
Years
Later
(http://www.guernicamag.com/features/south-l-a-twenty-years-later/)
(http://www.guernicamag.com/features/south-l-a-twenty-years-later/)
What
the
riots
wrought.
Two
Rivers
(http://www.guernicamag.com/art/two-
rivers/)
(http://www.guernicamag.com/art/two-rivers/) The
photographers
new
book
defies
borders
and
conventions
in
central
Asia.
Zemanta (http://www.zemanta.com/?wp-related-posts)
http://www.guernicamag.com/art/art-is-a-problem/
12/13
6/4/2014
http://www.guernicamag.com/art/art-is-a-problem/
13/13