A glut of naked men

la_mort_dadonis_19991768

Left, Pierre & Gilles, The Death of Adonis, 1999 from The Naked Man exhibition and right, Pierre & Gilles, Vive la France, 2006 from The Nude Man exhibition

This Spring I saw The Nude Man at the Leopold Museum in Vienna, The Naked Man at the Ludwig Museum in Budapest, and also an exhibition, Orange Human, featuring male nudes by Slovakian artist Svätopluk Mikyta at Deàk Erika gallery in Budapest. At least for me this Spring, the preponderance of female nudes traditionally shown in art has been fully counterbalanced.

cezanne-seated-male-nude

Paul Cezanne, Seated Male Nude (Self-portrait), 1910

The Nude Man dealt with the history of the male nude in art since 1800. The Naked Man concerns itself with contemporary representations of the male body, explored thematically in ways that overlapped with and expanded on The Nude Man exhibition. Some works and artists made appearances in both shows; for example, Katarzyna Kozyra’s video installation The Men’s Bathhouse, filmed surreptitiously here in Budapest, was shown in both places. It was not intentional to have two such similar shows at the same time, so perhaps the coincidence suggests a growing interest in themes and dialectics around the male body.

The Bathhouse, Katarzyna Kozyra, 1997

Still from The Men’s Bathhouse, Katarzyna Kozyra, 1997

The male gaze has been much discussed in terms of the female nude, and these shows present an opportunity to consider how the male gaze treats itself and also how the female gaze looks at the male body. Questioning how female versus male nudes are presented, both exhibitions also featured photographs from Croatian artist Tomislav Gotovac’s 2002 ‘Foxy Mister’ series and works by Gilbert and George.

Installation view of Tomislav Gotovac's 2002 Foxy Mister photography series

Installation view of Tomislav Gotovac’s 2002 Foxy Mister photographs at the Leopold Museum

The exhibition at the Ludwig in Budapest, however, perhaps because it was freed from a linear art historical narrative, could deal more interestingly in a thematic approach with the more complicated relations to the body. Anxiety around the aesthetic of the body–whether in conformity or rebellion, and the freedom and vulnerability of the naked body as well as it’s relation to pain is considered. I found some of the body art difficult to watch. Problematizing the relationship to the male body was American artist Paul McCarthy’s Rocky, a 1976 video where the artist in boxing gloves is hitting himself in the head, which is not far from the Image Whipping photograph of Hungarian artist Tibor Hajas, documenting extreme bound and hung postures, just a room over from a video of one of Stelarc’s body suspension performances, in which his body is hung at different points from multiple meat hooks.

P1080706
Both these museum exhibitions featured early photography documenting the male nude in an artistic or athletic context: think Eadweard Muybridge‘s explorations of motion in the shot-by-shot documentation of a man ascending a staircase, for example, or two men boxing. These photos often hearken back to an athletic Greco-Roman ideal of the male form that was, in the region, reinforced later as the ideal of strength and beauty in Social Realist style. Svätopluk Mikyta, in the ‘over-drawings’ on view at Deàk Erika Gallery, begins with these innocent, athletic depictions of male nudes taken from antique books. Starting from found images, the artist overdraws, commenting on these naked idyllic male images. This latest series, Orange Human, on one hand puts the perfect man on a pedestal by displaying them and on the other tints their skin from the original black-and-white image to create a new, superhuman race.

P1080707

From Greco-Roman ideal, to tortured anxiety, to this new Futurist race of male beings, the male body has recently been presented in such varied ways, altogether offering a surprisingly rich counterpoint from the relatively unexplored gender.

Budapest’s Cultural Mismanagement

155251_4960042832190_1563188353_n
Photo by Gabriella Csozso

Check out my article, Budapest’s Cultural Management, up on Inside Full of Color. Inside Full of Color is an online magazine dedicated to the arts of Central and Eastern Europe. I’ve been meaning to share this for a week, but didn’t have a chance because I was in Berlin with spotty internet for a conference and exhibition I organized.

Photos of the exhibition to come. 🙂

j

Protests Afoot in Budapest

P1070940

 

P1070941 P1070943

Text by Stephan Dillemuth in Munich, Anthony Davies in London, and Jakob Jakobsen in Copenhagen. Originally published June 12, 2005.

There is no alternative: The future is self-organised

As workers in the cultural field we offer the following contribution to the debate on the impact of neoliberalism on institutional relations:
• Cultural and educational institutions as they appear today are nothing more than legal and administrative organs of the dominant system. As with all institutions, they live in and through us; we participate in their structures and programmes, internalise their values, transmit their ideologies and act as their audience/public/social body.
• Our view: these institutions may present themselves to us as socially accepted bodies, as somehow representative of the society we live in, but they are nothing more than dysfunctional relics of the bourgeois project. Once upon a time, they were charged with the role of promoting democracy, breathing life into the myth that institutions are built on an exchange between free, equal and committed citizens. Not only have they failed in this task, but within the context of neoliberalism, have become even more obscure, more unreliable and more exclusive.
• The state and its institutional bodies now share aims and objectives so closely intertwined with corporate and neoliberal agendas that they have been rendered indivisible. This intensification and expansion of free market ideology into all aspects of our lives has been accompanied by a systematic dismantling of all forms of social organisation and imagination antithetical to the demands of capitalism.
• As part of this process it’s clear that many institutions and their newly installed managerial elites are now looking for escape routes out of their inevitable demise and that, at this juncture, this moment of crisis, they’re looking at ‘alternative’ structures and what’s left of the Left to model their horizons, sanction their role in society and reanimate their tired relations. Which of course we despise!

In their scramble for survival, cultural and educational institutions have shown how easily they can betray one set of values in favour of another and that’s why our task now is to demand and adhere to the foundational and social principles they have jettisoned, by which we mean: transparency, accountability, equality and open participation.
• By transparency we mean an opening up of the administrative and financial functions/decision making processes to public scrutiny. By accountability we mean that these functions and processes are clearly presented, monitored and that they can in turn, be measured and contested by ‘participants’ at any time. Equality and open participation is exactly what it says – that men and women of all nationalities, race, colour and social status can participate in any of these processes at any time.
• Institutions as they appear today, locked in a confused space between public and private, baying to the demands of neoliberal hype with their new management strucures, are not in a position to negotiate the principles of transparency, accountability and equality, let alone implement them. We realise that responding to these demands might extend and/orguarantee institutions’ survival but, thankfully, their deeply ingrained practices prevent them from even entertaining the idea on a serious level.
• In our capacity as workers with a political commitment to self-organisation we feel that any further critical contribution to institutional programmes will further reinforce the relations that keep these obsolete structures in place. We are fully aware that ‘our’ critiques, alternatives and forms of organisation are not just factored into institutional structures but increasingly utilised to legitimise their existence.
• The relationship between corporations, the state and its institutions is now so unbearable that we see no space for negotiation – we offer no contribution, no critique, no pathway to reform, no way in or out. We choose to define ourselves in relation to the social forms that we participate in and not the leaden institutional programmes laid out before us – our deregulation is determined by social, not market relations. There is no need for us to storm the Winter Palace, because most institutions are melting away in the heat of global capital anyway. We will provide no alternative. So let go!

The only question that remains is how to get rid of the carcass and deal with the stench:
• We are not interested in their so-called assets; their personnel, buildings, archives, programmes, shops, clubs, bars, facilities and spaces will all end up at the pawnbroker anyway…
• All we need is their cash in order to pay our way out of capitalism and take this opportunity to make clear our intention to supervise and mediate our own social capital, knowledge and networks.
• As a first step we suggest an immediate redistribution of their funds to already existing, selforganised bodies with a clear commitment to workers’ and immigrants’ rights, social (antiracist, anti-sexist, anti-homophobic) struggle and representation.

There is no alternative! The future is self-organised.
• In the early 1970’s corporate analysts developed a strategy aimed at reducing uncertainty called ‘there is no alternative’ (TINA). Somewhat ironically we now find ourselves in agreement, but this time round we’re the scenario planners and executors of our own future though we are, if nothing else, the very embodiment of uncertainty.
• In the absence of clearly stated opposition to the neoliberal system, most forms of collective and collaborative practice can be read as ‘self-enterprise’. By which we mean, groupings or clusters of individuals set up to feed into the corporate controlled markets, take their seats at the table, cater to and promote the dominant ideology.
• Self-organisation should not be confused with self-enterprise or self-help, it is not an alternative or conduit into the market. It isn’t a label, logo, brand or flag under which to sail in the waters of neoliberalism (even as a pirate ship as suggested by MTV)! It has no relationship to entrepreneurship or bogus ‘career collectives’.
• In our view self-organisation is a byword for the productive energy of those who have nothing left to lose. It offers up a space for a radical re-politicisation of social relations – the first tentative steps towards realisable freedoms.

Self-organisation is:
• Something which predates representational institutions. To be more precise: institutions are built on (and often paralyse) the predicates and social forms generated by self-organisation.
• Mutually reinforcing, self-valorising, self-empowering, self-historicising and, as a result, not compatible with fixed institutional structures.
• A social and productive force, a process of becoming which, like capitalism, can be both flexible and opaque therefore more than agile enough to tackle (or circumvent) it.
• A social process of communication and commonality based on exchange; sharing of similar problems, knowledge and available resources.
• A fluid, temporal set of negotiations and social relations which can be emancipatory – a process of empowerment.
• Something which situates itself in opposition to existing, repressive forms of organisation and concentrations of power.
• Always challenging power both inside the organisation and outside the organisation; this produces a society of resonance and conflict, but not based on fake dualities as at present.
• An organisation of deregulated selves. It is at its core a non-identity.
• A tool that doesn’t require a cohesive identity or voice to enter into negotiation with others. It may reside within social forms but doesn’t need take on an identifiable social form itself.
• Contagious and inclusive, it disseminates and multiplies.
• The only way to relate to self-organisation is to take part, self-organise, connect with other self-organising initiatives and challenge the legitimacy of institutional representation.

We put a lid on the bourgeois project, the national museums will be be stored in their very own archive, the Institutes of Contemporay Art will be handed over to the artists unions, the Universities and Academies will be handed over to the students, Siemens and all the other global players will be handed over to their workers. The state now acts as an administrative unit – just as neoliberalism has suggested it – but with mechanisms of control, transparency accountability and equal rights for all.

END

STRIKE

Updates on Hungary’s political situation outside the arts:

http://hungarianspectrum.wordpress.com/2013/03/09/the-significance-of-today-demonstration-in-the-hungarian-capital

http://nemma.noblogs.org/2013/03/10/the-constitution-is-not-a-game

Top images from the Free Artist Protest #4

Bottom image from Tamás St.Auby’s “IPUT: Subsist.Ence Level St.Andard Project 1984 W (or This is what has become of the unicell)” exhibition at the Ludwig Museum