Alan Kaprou | Allan Kaprow
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Allan Kaprow
DVORIŠTE, 1961. | YARD, 1961


1927 – 2006
Born in Atlantic City, New Jersey, USA, lived and worked in Encinitas, USA.

YARD, 1961
Courtesy Sammlung Feelisch, Remscheid
Photo: Studio Müller & Schmitz, Remscheid

1
The key experiment was not simply the invention of new art genres by which the period is usually known, but the recognition of the secularization of the entire art situation: genre, frame, public and purpose.

2
The critical move in the experiment was the shift of art away from its familiar contexts, the studios, museums, concert halls, theatres etc., to anywhere else in the real world.

3
Various performative modes became the effective way to deal with this shift to the actual environment. Performing was doing something, not acting in theatre — moving furniture, for example, just to do it, or because you were changing apartments.

4
The structural models for the experiment were real (not merely implicit) processes: for example, seasonal changes; food that is grown, prepared, eaten, digested and composted; thoughts that are transmitted, converted and put into action.

5
The possible boundaries between lifelike art and the rest of life were kept intentionally blurred. Where the art was located and where life was, when one or the other “began” and “ended,” was of no importance. Such distinctions were merely provisional.

6
The typical art public and critic used to going to exhibitions, concerts and plays, became irrelevant. Instead, there were small groups of travellers to far-off sites, participants in organised events, thinkers on commuter trains and artists in their art by themselves. The emerging public for this lifelike art was no longer ideal and unified, but was diversified, mobile and particular in interests, like people in the real world.

7
Lifelike art did not merely label life as “art”. It was continuous with that life, inflecting, probing, testing and even suffering it, but always attentively. (That’s the source of its humour, when you look closely at your suffering, it can be pretty funny ...)

8
The purpose of lifelike art was therapeutic: to reintegrate the piecemeal reality we take for granted. Not just intellectually, but directly, as experience — in this moment, in this house, at this kitchen sink...

Allan Kaprow

Excerpt from “The Real Experiment”, Artforum, December 1983

Biography

Allan Kaprow was born in 1927 in Atlantic City, New Jersey, USA. He lived and worked in Encinitas, USA. He studied architecture, art history and fine arts. Since 1958 he concentrated his work on action art and is known as the inventor of the term Happening, pertaining to his action piece 18 Happenings in 6 parts at the Reuben Gallery in New York, USA, in 1958. Allan Kaprow died 2006.

(1927–2006)
Rođen u Atlantik Sitiju, Nju Džersi, SAD, živeo i radio u Ensinatasu, SAD.

DVORIŠTE, 1961.
Ljubaznošću Sammlung Feelisch, Remscheid
Fotografija: Studio Müller & Schmitz, Remscheid

1
Ključni eksperiment nije bio naprosto iznalaženje novih umetničkih žanrova po kojima je taj period obično poznat, već uviđanje sekularizacije celokupne umetničke situacije: žanra, okvira, publike i svrhe.

2
Ključni potez u eksperimentu bio je pomak umetnosti od poznatih konteksta, ateljea, muzeja, koncertnih dvorana, pozorišta, itd., do bilo kog drugog mesta u stvarnom svetu.

3
Razne vrste performansa postale su delotvorni načini da se izađe na kraj sa ovim pomakom u stvarnu okolinu. Performans je činjenje, ne gluma u pozorištu, na primer, prenošenje nameštaja tek da bi se preneo, ili zbog selidbe u novi stan. 

4
Strukturni modeli za eksperiment bili su stvarni (ne samo implicitni) procesi: na primer, sezonske promene; hrana koja se uzgaja, priprema, jede, vari i koristi kao đubrivo; misli koje se prenose, preobražavaju i sprovode u delo.

5
Moguće granice između umetnosti nalik životu, i ostatka života, namerno su zamagljene. Nije bilo važno gde je umetnost, a gde život, gde jedno, ili drugo ''počinje'', ili gde se ''završava''. Takve distinkcije bile su samo privremene.

6
Tipična umetnička publika i kritičari, navikli na odlaženje na izložbe, koncerte i pozorišne predstave, postali su nevažni. Umesto njih, postojale su male grupe putnika na daleke lokacije, učesnika u organizovanim događanjima, grupe mislilaca u vozovima, i umetnika u njihovim oblastima umetnosti, same za sebe. Publika za ovu umetnost nalik životu, koja se upravo rađala kao publika, više nije bila idealna niti ujedinjena, već je bila raznovrsna, pokretna i konkretnih interesovanja, kao i ljudi u stvarnom svetu.

7
Umetnost nalik životu nije naprosto prikačila životu etiketu ''umetnosti''. Ona je bila u kontinuitetu sa tim životom, preoblikujući ga, zalazeći u njega, ispitujući ga, čak i trpeći ga, ali uvek sa pažnjom. (To je izvorište njenog humora, kada pomnije razmotrite svoju patnju, to može ispasti prilično smešno...)

8
Svrha umetnosti nalik životu bila je terapeutska: reintegrisanje pojedinačne stvarnosti koju uzimamo zdravo za gotovo. Ne samo intelektualno, već i neposredno, kao iskustva – u ovom trenutku, u ovoj kući, kod ove sudopere...

Alan Kaprou

Odlomak iz “The Real Experiment”, Artforum, decembar 1983.

Biografija

Alan Kaprou rođen je 1927. u Atlantik Sitiju, Nju Džersi, SAD. Živeo je i radio u Ensinitasu, SAD. Studirao je arhitekturu, istoriju umetnosti i likovnu umetnost. Od 1958. godine usredsredio je svoj rad na akcionu umetnost i poznat je kao tvorac termina hepening, vezano za njegovo akciono delo 18 hepeninga u 6 delova uReuben Gallery u Njujorku, SAD, 1958. godine. Alan Kaprou umro je 2006.