Daniel Kurjakovic
SYNOPSIS Nothing is to be seen but the unknown. Smithson spoke repeatedly of categories at the borders of one's imagination and created art works, especially "Sites" and "Non-Sites" with an inherent dialectic. His work gravitated underground, to the other site of thought: immense imagination located in the most compact space. Artists such as Matta-Clark, LeWitt and Nauman did the same, making art objects which disappeared from the visible surface, not imaginable when bound by perceptible space and time. What happens to the psyche when the imagination collapses in front of this absence? We have to focus on the unknown in phenomena which seem to be known. The avant-garde and the future are not the problem. Aberwitz reaches our ears from beneath contemporary sound. How can we comprehend the immeasurable, the inexhaustible? Imagination is the best preserved secret. How can we imagine supersensual phenomena? No time is available for reflection (which is another type of civil obedience). Artists use satire to demonstrate the illusion of a managed world. They build models of the Aberwitz which mimic social reality, seemingly adapting to the exorbitant back site of our time. It provokes pungent laughter which opens our eyes and ears. |
