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Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world.
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Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed.
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If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies.
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We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.
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In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its potentiality and never actualize itself into one actual form.
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In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art.
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The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality.
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Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. -Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda, but stays autonomous and operates by creating its own conditions all over again.
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In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different potential and actual worlds.
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Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. (Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda, but stays autonomous and operates by creating its own conditions all over again.
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If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies.
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What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view.
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