Santa Claus i ett romantiskt konstperspektiv

Santa Claus i ett romantiskt konstperspektiv

The year is 3000 and Santa Claus defends the neoscientific holdings after being proofed of not in existance by the (now defunct) teology world. Santa Claus had by now turned old, grumpy, mean and sad since not ever recieving a Christmas gift by his own although tousands of years active in his trade. He now lean on the brink of quitting until he finally found salvation in the reinvention of the dimensional portal. Santa Claus embraced that as an outpost of both scientific and aesthetic prowess and now (maybe) he could travel to the one dimension where he holds no Christmas duties but live in Båstad undercover.

But their was one obstacle - the collected science world could not get it to work as good as what was needed. The dimensional portal was all the while an art object and could not function without the believe in art. So far so good but without mechanistic traits Santa Claus could not get the power of the scientific world.

The workings (solution) got ever more intricate when an unknown scientist finally found the missing link with the Guggenheim transformator. With it you only need the belief (conceptual machine) of the dimensional portal and the art world in order to travel the vast megaverse. The settings you need to highlight (typing into the dimensional portal) will then be the coordinates (beliefs) of the end-universe and that implication suited Santa Claus very well since he still held the beliefs of the Båstad-universe.

Santa Claus was once again victorious.

// Henrik Aronsson (Other Persona)

Henrik Aronsson - Beatiful Ocean, Lovely Trees, In A Wonderful Environment [Konstvärlden]

Beatiful Ocean, Lovely Trees, In A Wonderful Environment

Henrik Aronsson
Beatiful Ocean, Lovely Trees, In A Wonderful Environment
012604510801=N
anti-painting, 2018

// Henrik Aronsson (Other Persona)

Henrik Aronsson - Serbia

Serbia [Konstvärlden]



Henrik Aronsson
Serbia
012604510801=N
land art, 1992 (2018)


And so the artworlds winnings was defined as the possession of land in holding.



Serbia [Krigsvärlden]



Henrik Aronsson
Serbia
012604510801=N
fence, mines, panzer wagons, barbed wire, rifles, 1992 (2018)


And so the warworlds winnings was defined as the possession of land in holding.

// Henrik Aronsson (Other Persona)

Matthew McCaslin - Food For Thought

Food For Thought [Konstvärlden]



Matthew McCaslin
Food For Thought
012604510701=N
installation, 1996


Food For Thought i ett postpostmodernt perspektiv

Här finns korna inte längre kvar i ladugården utan har flytt - kvar finns bara representationer av korna - sidledes i alla riktningar symboliserandes en slumpmässig flykt.


Food For Thought i ett postmodernt perspektiv

Här ses kornas (från nämnda ladugård) meta-narrativ som symboliserar ett subjektets död.


Food For Thought i ett modernistiskt perspektiv

Här ges ett maskinellt meta-narrativ som efter ((möjligen) flera) redigeringar symboliserar essensen av korna.


Food For Thought i ett klassicistiskt perspektiv

Här struktureras några kor i en ladugård.



Food For Thought [Psykiatrikomedivärlden]



Matthew McCaslin
Food For Thought
012604510701=N
performance psychosis, 1996


Food For Thought i ett postpostmodernt perspektiv

'Do electric cows dream of freedom'


Food For Thought i ett postmodernt perspektiv

'Do electric cows dream of starvation'


Food For Thought i ett modernistiskt perspektiv

'Do electric cows dream of perfection'


Food For Thought i ett klassicistiskt perspektiv

'Do electric cows dream of structure'

// Arreality Reconfigurating D-day (Fantasy Creature) & Arreality Reawakened To (Yester) (Fantasy Creature)

Unknown Artist - Making Her Bed [Stuckism's konstvärld]

Making Her Bed



Unknown Artist
Making Her Bed
performance, 1999


Making Her Bed i ett postmodernt perspektiv

Verket liknar en combine i och med att en konstnär har arbetat på en redan etablerad yta.


Making Her Bed i ett modernistiskt perspektiv

Verket liknar en målning då verket bygger på konventioner (det finns ett fåtal sätt att bädda en säng).


Making Her Bed i ett dadaistiskt perspektiv

Verket liknar en (anti)målning då verket kan behöva bäddas flera gånger.

// Arreality Reestablished To (Morning) (Fantasy Creature) & Arreality Rephased To (Evening) (Fantasy Creature)

Jeffrey Wisniewski - Solar Implode/Power House

Solar Implode/Power House [Heidegger's konstvärld]



Jeffrey Wisniewski
Solar Implode/Power House
012604510701=N
found installation, 1994


Här blir intet föregående varat (och tillbaks igen) då byggnationen befinner sig i ett demoleringsstadie som uppehåller byggnationen över en viss tid dess imploderande status till trots.



Solar Implode/Power House [Konstvärlden]



Jeffrey Wisniewski
Solar Implode/Power House
012604510701=N
installation, 1994


Här blir byggnationen en symbol för tolkningens negativa effekter på ursprungsbetydelsen.



Solar Implode/Power House [Byggnadsvärlden]



Jeffrey Wisniewski
Solar Implode/Power House
012604510701=N
byggnadsinstallation, 1994


Här blir huset en symbol för skillnaden mellan byggnadskonstruktör och konstnär.

// Arreality Restable (Possible) (Fantasy Creature) & Arreality Recataclysmical (Less) (Fantasy Creature)

Damien Hirst - The Physical Impossibility Of Prolonged Life In The Mind Of Someone Living [Konstvärlden]

The Physical Impossibility Of Prolonged Life In The Mind Of Someone Living



Damien Hirst
The Physical Impossibility Of Prolonged Life In The Mind Of Someone Living
012604510701=N
installation intervention, 2006


The art piece is a (living) animal with prolonged life.

// Arreality ReProduction Failure (Fantasy Creature) & Arreality ReTry Truth (Fantasy Creature)

Damien Hirst - The Physical Impossibility Of Death In The Mind Of Someone Living [Konstvärlden]

The Physical Impossibility Of Death In The Mind Of Someone Living



Damien Hirst
The Physical Impossibility Of Death In The Mind Of Someone Living
012604510701=N
installation, 1991


The art piece is an animal between life and death.

// Arreality ReConstitution Never (Fantasy Creature) & Arreality RePositioning X (Fantasy Creature)

När Är Det Humor (Part 2)

När Är Det Humor (Part 2)



Institutional event


Ett institutionellt event är ett event som kan ges i flera dimensioner och som är stipulerade för både humorformen och konstformen. Som exempel på humorformen kan ett institutionellt event ges för till exempel skit, gag, theoretical joke, practical joke, dark, improv och som exempel på konstformen kan ett institutionellt event ges för till exempel performance, happening, conceptual, (abstract).



Event + Time (instant) = Comedy


När ett event (happening, performance, skit, gag, joke (theoretical, practical)) når uteslutande konsensus i skratt (in a wider sense) är så humorstatus oundvikligen (då detta sker ögonblickligen). Som exempel kan ges projekt 'Spermaharen' som (tillfälligt) sökte upp Manpower för att sälja ut delar av sitt projekt. Detta blir så ett exempel på humor (signerat 'Spermaharen') men inte konst.



Event + Time (vast) = Art


Om ett event istället sker med historicitet som funktion - antingen utsträckt (med tidsdimension), som ett led av kausalitet eller som en showcase med föregående, nu-tid och eftermäle - så kan eventet sägas vara ett konst(objekt (-varande)). Som exempel kan ges projekt 'Spermaharen' som, i ett alternativt skeende, sålde ut delar av deras projekt 'Spermaharen' till 'Manpower' (som (isåfall) kvalificerat sig själv som konst).



Summary


Denna essä har visat på att historicitet (med ett längre varande) omslutet ett event kan vara (är) konst medan event med kortare varande kan vara (är) humor. Viss diskrepans kan komma vid satirformen av humor (med dess släkte ironi) då dessa kan verka över en kortare tid men dessa former av humor ges vanligtvis inte vid ett humor(konst)event. Diskrepans ges även vid till exempel humorformen sketch och performance comedy som kan verka med en humorkontext (med en humorhistoria).

// Niclas III & Niclas IV

Architectural falsability

Architectural falsability


Introduction

The purpose of this paper is to discuss the duality of the concept of the architecture and then wider look at some example of the architecture notion in the context of art objects. Not all buildings qualify as architecture but all buildings can be said to have an art notion as found objects. This will then be explained as an example of buildings as false architecture and found buildings as true architecture.


Falsability

When looking at certain buildings these never functions as architecture but instead of an art object with "architectural falsability". One such example is Wrapped Reichstag (Christo & Jeanne-Claude) who is labeled an installation as it is transgressed from the "wrapping" in between the earlier version of the building to the newer version of the building (a time variable exists). This is then defined as a "true architecture".


False (falsability)

Leaving the time integer in a non-defined way (as in sculpture) an object as Nimis (Lars Vilks) here is transgressed from unsculpture to sculpture leaving it as "false architecture". This is then regulated with a psycho-social nature but still bears no recognition of any architecture notion.


Dual falsability

When an object still holds in the context of the artworld but also have a found aspect qualifying it as architecture the object can be described as having "dual (architectural) falsability". This is the case with - for example - 9/11 (Damien Hirst) who have both the aspect of true falsability (found) but also an intervention aspect as it is (then) detailed as a distinct piece of architecture (False/True falsability). An example of an object qualifying as "True/False falsability" can then be exemplified with SOVA Art Hall (Henrik Aronsson). The object (building) has a found aspect (Found Art Hall) but is used as a simulated art exhibition devalued of any architecture notion.


Summary

This paper has (although briefly) been discussing the notion of falsability within buildings - found objects - architecture. We have shown how some (art) objects can be said to have a true or false notion of architecture and later how some (architectural) buildings can be said to exist with a dual architectural notion describing it of having true and/or false falsability. This is then applied to either the architecture label and/or the art label.

// Henrik Aronsson (Other Persona)

Santa Claus i ett postmodernt perspektiv

Santa Claus i ett postmodernt perspektiv


Santa Claus i ett konstperspektiv

The year is 2900 and a recent slip-up in Christmas business have turned Santa Claus upset. Everything have been followed flawlessly the past 100 years or so but last Christmas 6 year old Virginia got a Rembrandt and 78 year old Augusta got a Miró and not the other way around. The light was soon shed when Santa Claus discovered that many of his elves was suffering from dementia and therefor couldn't hold memory of all Christmas recievers and their applied gift. Santa Claus now needed some memory-hang conscious to upload some Christmas delivery notes and soon found one in world ruler Henrik Aronsson. Santa Claus immediately began uploading content to named person's conscious.


Santa Claus i ett essentiellt konstperspektiv

Things could have been turned around happy and well if it wasn't for the fact that Henrik Aronsson was having his memory fully downloaded with restaurant visits. This was then interfered with the Christmas material and Henrik Aronsson soon began to pay for restaurant bills with Rembrandts. Santa Claus and Henrik Aronsson then followed suit with downloading the Christmas material on a floppy disk and uploading the Christmas content to Henrik Aronsson conscious around Christmas time - this leaving Henrik Aronsson without the material for most part of the year. The only problem with this applied Christmas working was the fact that the floppy disk with the Christmas material could get copied and if so could risk the whole Christmas to be stolen. Santa Claus and Henrik Aronsson was then soon to be aware of the fact that the disk was an art piece and therefor (as in essentialism) could not be copied without it losing its status as an art object and if it does so it will be rendered out of function.


Santa Claus i ett institutionellt konstperspektiv

Everything then followed flawlessly with the next Christmas being just short away when suddenly out of the blue the floppy disk with Henrik Aronsson's Christmas content consciousness was stolen. After Henrik Aronsson held a dinner guest relatives meeting and a Christmas dinner family meeting (interfering with Christmas (gift) content) Santa Claus and Henrik Aronsson got switched polarity with Santa Claus being the world ruler and Henrik Aronsson the new Santa Claus (world ruler equals institutionalism). Henrik Aronsson's full memory was then used for Christmas content and in doing so the couple had modulated - emulated - simulated a shift in the universe makings and so the universe looked more like an institutional (art sub-belief) one. Christmas was then saved as the disk will render useless outside of the art world and if it (when) it got stolen it no longer represents the art world.

(Christmas had yet been saved.)

(Henrik Aronsson had yet been victorious.)

Santa Claus was once again victorious.

// Henrik Aronsson (Other Persona)