The Fuzzy Line between Art and Life: Artistic Interferences in the Construction of Reality

By Ana María Garzón Mantilla

Paintings can reframe, transform, reenact or reconstruct truth. utilizing paintings initiatives which are
intervening in present social realities, this thesis strives to research how paintings can intervene
in the development of truth. The artwork works selected are more than a few reviews that pass
from participatory environments to video installations. Francis Alÿs, Jeremy Deller,
Omer speedy, Thomas Hirschhorn, Pierre Huyghe, Vik Muniz, Walid Raad and Santiago
Sierra are utilizing resources that come from the commercial and political process, interventions
in the standard and present old evidence. The works of art are wondering the codes of
representation, the relation with the opposite, the development of reminiscence and the authority
of historical past. there's a everlasting stress among the creative representations and truth
itself; that's to claim, an enduring clash among the fiction and the genuine. This thesis
examines practices which are addressing social and historic stipulations, with a view to
compare innovations and conflictive occasions that seem within the types utilized by the artists.

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Field 1346 Ann Arbor, MI 48106 - 1346 The Fuzzy Line among artwork and existence: inventive Interferences within the building of truth by means of: Ana María Garzón Mantilla artwork can reframe, transform, reenact or reconstruct truth. utilizing paintings tasks which are intervening in current social realities, this thesis strives to research how paintings can intervene within the development of fact. The paintings works selected are a variety of reviews that cross from participatory environments to video installations. Francis Alÿs, Jeremy Deller, Omer quick, Thomas Hirschhorn, Pierre Huyghe, Vik Muniz, Walid Raad and Santiago Sierra are utilizing assets that come from the industrial and political procedure, interventions within the daily and current historic proof. The artistic endeavors are wondering the codes of illustration, the relation with the opposite, the development of reminiscence and the authority of historical past. there's a everlasting pressure among the creative representations and truth itself; that's to assert, an everlasting clash among the fiction and the genuine. This thesis examines practices which are addressing social and old stipulations, as a way to examine techniques and conflictive events that seem within the types utilized by the artists. desk of Contents creation 1 bankruptcy one: below the body of the procedure 6 bankruptcy : whilst artwork is staged within the house of the standard 18 bankruptcy 3: Interventions within the Realm of historical past 29 end forty eight Illustrations fifty one Bibliography sixty five i Illustrations Fig. 1. Santiago Sierra, staff who can't be paid, remunerated to stay inside of cardboard bins, Kunst Werke, Berlin, Germany. September 2000. Courtesy of the Artist & Galería Helga de Alvear, Madrid. © Santiago Sierra Fig. 2. Francis Alÿs, whilst religion strikes Mountains, Lima, Peru, 2002. Created for the Lima Biennial. reveal captions from the general public area movies published at www. francisalys. com Fig. three. Francis Alÿs, Bridge, Key West-USA and Santa Fé-Cuba, 2006. display captions from the general public area video clips published at www. francisalys. com Fig. four. Vik Muniz, Narcissus after Caravaggio (2005-6). Chromogenic Print. Exhibited at Sikkema Jenkins & Co. , Fall 2006. photograph: Larry Qualls. ARTstor assortment: modern artwork (Larry Qualls Archive). Fig. five. Vik Muniz, Prometheus after Titian, (2005-6), Chromogenic Print. Exhibited at Sikkema Jenkins & Co. , Fall 2006. photograph: Larry Qualls. ARTstor assortment: modern paintings (Larry Qualls Archive). Fig. 6. Vik Muniz, Aftermath (Emerson). Cibachrome print in gentle field. Exhibited on the Solomon R. Guggenheim Museum for “Brazil: physique and Soul,” Fall 2001-Winter 2002. photograph: Larry Qualls. ARTstor assortment: modern artwork (Larry Qualls Archive). Fig. 7. Vik Muniz, Aftermath (Socrates), 1998. Cibachrome print in mild field. Exhibited on the Solomon R. Guggenheim Museum for “Brazil: physique and Soul,” Fall 2001-Winter 2002. picture: Larry Qualls. ARTstor assortment: modern paintings (Larry Qualls Archive). Fig. eight. Thomas Hirschhorn, Bataille Monument, 2002 (Imbiss). Documenta eleven, Kassel, 2002. photograph : Werner Maschmann.

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