Step 13. The Art of War II. The Betrayal

It is no coincidence that the experience of incommunicability is followed by the New Art Video Appropriation Movement (NAVA). Whatever the main reason or main principle or principles this new movement involved, one of its characteristics is that the author (or artist/video art appropriationist) staged something which he knew the reader (observer) did not believe. The realistic style (hence, Christensen Lyndons press card of Witte de Raaf) is abandoned for a while, only to be reintroduced with a great deal of fuss and lies (as style!) in the first decennium of the 21st century. NAVA itself is based on the author (artist) and reader (observer) presuming of each other (and knowing that they presumed it of each other) that the staging intended to signify the world- was not to be taken seriously. Precisely this becomes the basis of mutual understanding, the fascination all works of art exert, and can be interpreted to be the indication of something inaccessible to direct communication. The incommunicable is accessed via distantiation; and this no longer has to do only with the ambiguity of feelings, the mixture of motives for lying, the one-sidedness and falsification of meaning by communication in dialogue; rather the problem has generalized and sublated within a notion of the world that transcended all means of expression. The exploration of the world is complete and now becomes enigmatic in itself; all ideas now have opaque sides to them. Their transformations into ideologies and later into trivialities are the next step along the way of the New Art Video Appropriation Movement.




Credits:
Art Director: L.C. von Sukmeister
Journalist Witte de Raaf: Lyndon Christensen
Camera Operator: Suki
LeCrook: R.S. LeCampagnard
Location: MAMCO Geneva
Date: 28 October 2008.
Script: Le Chat
Script Assistant: N. Luhmann, The Discovery of Incommunicability, p. 128, 1986.
Love: As Passion
The Codification: Of Intimacy
Art: 2.0
Series: OPERATION SILVER FLOWER. OR HOW TO BURN SWISS MONEY

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