Operative Art Interventions as Resocialization

Zürich / New York 2001

About the social-cultural intervention as form of art presentation in public spaces

The presentation of visual art works as operative artistic interventions of general processes of investments because of resocialization shows the best possibility to present a truth of the media itself. By simulating an actual, global investment process and transporting it into art spaces – as Duchamps introduced the readymade to the audiance during his time -, without changing the official process of the speculation the artist is demonstarting, how media processes, transactions and transports of signs over boarders which signify the topography of the media surface, initiate confusions on the level of significants and categorical definitions.

In this undistinguishability of the generic social in artistic-operative intervention cosnidering oeconomical contexts the artist as the author takes over the role of the generator together with the art manager.

The work itself as artistic intervention remains a indiependent operative “enterprise to the public, for some as an absolutely obvious social necessity, for others as artistic metaphore economical contexts and suggestions of investment.

In the form of an operative Mimesis of a socio-cultural context the arts introduces a deconstring comment of real contexts. This is a simulation, which imitates processes in a modelling way and which shall interact with its operative function with the reality itself. This can be seen in projects as the Bar (“Mel Rose”, by Mel Chin, 97, Los Angeles, Kwangju, Aachen) or in scene like those by Rikrit Tiravanija, “Apartzment”, Cologne, New York, 96, “Supermarket” , Zürch, Museum of Contemporary Art, 98, and others). The Indifferenciation of real and simulation proves the advantage of the caultural action. The real fact of a certain economical speculation concerning social conditions becomes more understandable and will be transmitted as a piece of the turn of the century.

Operative Intervention of the Arts intends to substantialize the possibilities of existing acts in economic speculations through an artistically interpreted process. This will be interesting, where official supports through the state office can’t induce anything anymore, where the realtions of the work which has to be produced as soico-cultural, organizing system won’t coincide with the economical resources (Keynes).
Operative art Intervention as Resocialization helps through this a mechanism to become a prxis which is totally orientated to the temporarily existing capitalistic market processes.

Thourgh this different medias will be used for presentions.

Operative, artitistic Intervention as resocialization will produce the same fascination as the readymade at the beginning of the 20th century, which couldn’t be distinguished form the original. The difference is only, that there won’t be an introduction of a daily life piece into the art space, but a oprative process a art intervention, as sketched , simulated procedure of economical and social facts which can’t be visualized.

The simulation of such situations however won’t only be presented and installed in art spaces as game or mimesis, it also intends, through the artist spaces, to interact with the reality itself and use them as a real specualtion on contexts: Intentions will be made to use financial project supports as investment and base of speculations in real markets and only the profits made through thjis, will be used for cultural project itself. The production of the artist will be offered to the society as a relevant, stimulating operation.

More detailed it can be seen – sometimes more, sometimes less – as direct act of charity. The artist itself will not be recognized, only as initiator.

(A reedited text by Boris Groys, director of the art academy in Vienna:
about Jacque Derrida’s fake money):
Now it will be possible, but absolutely useless to ask, what the operative intervention of the artist in a socio-cultural context will mean – if reality or art, nature or convention, daily life or institution. The socio-cultural intervention is demonstarting from the start, that the question of the meaning won’t matter, but the question of the placing, the situating, the exchanging, the context; the operation above all signification will matter, where one deals with signs like meaningless things. Naturally exactly these kind of interventions produce all kinds of confusions – but through that the interventions won’t be less identifiable, they will be literally on the surface …)