![]() ![]() ![]() This semantic shift consequently embodies a capacity for devaluation, resulting in an attempt to empty of value the established systems of expression. To this end, Jorn’s Modifications epitomize the strategy of détournement, which was defined as the reuse of preexisting components into new configurations. Vandalizing the fine art object with playful or nonsensical elements was an assault directed towards three issues which the SI sought to counteract: the contemporary conversion of art into economic capital, the institutionalization of the avant-garde, and finally the mass media commodification of images. ![]() A paradigmatic example would be The Disquieting Duck, 1958. Jorn exhibited his Modifications, 1958-9 which consisted of unknown paintings which he usually found at flea markets and whose surfaces he enriched with graffiti-like doodles or bizarre imagery. Two of the most important strategies were ‘détournement’ (meaning a diversion, a subversion of meaning), and ‘unitary urbanism’ (integration of art with its environment). However, as a political and artistic rebellion, the Situationist International required aggressive, active strategies. Therefore, the Situationists deemed the creation of a new art form, one which would construct explicitly human situations, crucial. ![]() This approach was dictated by the view that each individual was defined by their environment. The SI’s approach to this task was the artificial construction of situations. ![]()
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