By Jaimey Hamilton Faris
Since Marcel Duchamp created his “readymades” a century ago—most famously christening a urinal as a fountain— the perform of incorporating commodity gadgets into artwork has develop into ever extra pervasive. Uncommon Goods lines one really vital point of that development: the shift in creative quandary towards the hidden moral dimensions of world trade. Jaimey Hamilton Faris discusses the paintings of, between many others, Ai Weiwei, Cory Arcangel, Thomas Hirschhorn, and Santiago Sierra, interpreting their creative explorations as overlapping with debates approximately how universal items carry us and our global in universal. using readymade now registers matters approximately overseas migrant hard work, outsourced production, entry to usual assets, highbrow copyright, and the commoditization of digital space.
In every one bankruptcy, Hamilton Faris introduces artists who exemplify the focal point of readymade aesthetics on features of worldwide commodity tradition, together with intake, advertising, forms, exertions, and group. She explores how materially in depth, “uncommon” aesthetic occasions can supply moments to meditate at the sorts of items, studies, and values we ostensibly proportion within the age of globalization. The ensuing quantity might be an immense contribution to scholarship on readymade artwork in addition to to the research of materiality, embodiment, and globalization.
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Extra resources for Uncommon goods : global dimensions of the readymade
Introduction it is economical to crack down on migrant labor, but sometimes it is more convenient to look the other way. All of this emphasizes how commodities are ongoing social-political situations, and not just one individual’s symbolic accouterments. Artists have come up with a myriad of ways to articulate the thresholds of the becoming of a commodity across these territorializing and deterritorializing boundaries. “A boundary is not at which something stops … a boundary is that from which something begins its presencing,” writes Heidegger in “Building Dwelling Thinking” (1951).
In her recent book Vibrant Matter: The Political Ecology of Things, Jane Bennett argues that “the sheer volume of commodities, and the hyper consumptive necessity of junking them to make room for new ones, conceals the vitality of matter” (2010: 5). Once the value and necessity of the commodity is questioned, materials can be looked at again as entities that sustain us, and of which we are a part. They can be recognized as actants—political entities with forces that are beyond human understanding and control.
The Honey Pump existed as an interactive tool to encourage an understanding of ways to gain knowledge and information through embodied participation. Even more ambitious than Akasegawa’s counterfeiting scheme and Fluxus distribution, Rauschenberg’s gift economy, or Meireles’s Insertions, the goal of the FIU was an integral system in which the “things [people] produce no longer come on the market on a barter basis through individual sale... ” Changing a capitalist production to collective production was the big agenda for Beuys’s creative “third way” solution.