HANS HAACKE MUSEUMS MANAGERS OF CONSCIOUSNESS PDF

In his article “Museums: Managers of Consciousness”, Haacke describes how museums are increasingly shifting their model of operation to. They are, if you want to put it in positive terms, great educational institutions. If you want to put it in negati ” – Hans Haacke quotes from Haacke H.’Museums, managers of consciousness’ B. Wallis (Ed.), Hans Haacke: unfinished business, New Museum of Contemporary Art, New York and MIT.

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How far the Saatchis in London will get in dominating the Tate Gallery’s Patrons of New Art-and thereby the museum’s policies for contemporary art-is currently watched with the same fascination and nervousness as developments in the Kremlin. Luke Rittner, who as outgoing director of the British Association of Business Sponsorship of the Arts should know, recently explained: Cnsciousness encouraged the so-called private sector to pick up the slack in financial support.

The arrival of Margaret Thatcher in Downing Street and of Francois Mitterand at the Elysee noticeably affect the art institutions in their respective countries.

And these do not by any means represent the interests of everybody. A theoretical prop for this worthy but untenable position is the nineteenth-century doctrine of art for art’s sake.

Supplanting the traditional bohemian image of the art world with that of a business operation could also negatively affect the marketability of its products and interfere with fundraising efforts. It takes stealth, intelligence, determination-and some luck. Like Enzensberger, I believe the use of the term “industry” for the entire range of activities of those who are employed or working on a freelance basis in the art field has a salutary effect.

Now they realize there is also another aspect; it is a tool they can use for corporate promotion in one form or anther. Although he did not specifically elaborate on the art world, his article did refer to it in passing.

Museum leadership, once the sole realm of the curator, is now being divided into artistic directors and operations officers. From experience they know that artists unwittingly open these areas for gentrification and lucrative development. Haacke views the corporate-driven museum as a potentially dangerous political instrument. The institutional function is a great case to study.

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Museums: Managers of Consciousness

Whether such neutralizing is performed with deliberation or merely out of habit or mkseums of resources is irrelevant: It is well-documented that Documenta is held in an out-of-the-way place like Kassel and given economic support by the city, state, and haacje government because it was assumed that Kassel would be put on the map by an international art exhibition.

But in non-dictatorial societies, the means of the production of consciousness are not all in one hand. As they were shaped by their respective environments and social relation, so do they in turn influence our view of the human condition.

Corporate public relations officers know that the greatest publicity benefits can be derived from high-visibility events, shows that draw crowds and are covered extensively by the popular media; these are shows that are based on and create myths-in short, blockbusters.

The gospel of art for art’s sake isolates art and postulates its self-sufficiency, as if art had or followed rules which are impervious to the social environment. Such a well-intentioned delusion haace survive only as long as art is perceived as a mythical entity above mundane interests and ideological conflict.

The channeling of consciousness is pervasive not only consciiousness dictatorships, but also in liberal societies. To make such an assertion may sound outrageous because according to popular myth, liberal regimes do not behave this way. Certainly the election victory of Mrs. It was never easy for museums to preserve or regain a degree of maneuverability and intellectual integrity. Agility in dealing with political parties, myseums even membership in a party, can be an asset.

Indeed, they usually present themselves as educational organizations and consider education as one of their primary responsibilities. Although the product under discussion appears to be quite slippery, it is by no means inconsequential, as cultural functionaries from Moscow to Washington make clear every day.

As the need to spend enormous sums for public relations and government propaganda indicates, things are not frozen. The presence of the names and logos of corporate sponsors invaded the physical space of the museum as well, appearing on the wall plaques at the entrance to the gallery.

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Artists, as much as galleries, museums, and journalists not excluding art historianshesitate to discuss the industrial aspect of their activities. Whether in private or in public museums, disregard of political realities, among them the political needs of the supervising bodies and the ideological complexion of their members, is a guarantee of managerial hqns.

You need theory that is heuristic, able to open up new discoveries. Executives with a longer vision also saw that the association of their company and, by implication, of business in general with the high prestige of art was a subtle but effective means for lobbying in the corridors of government. Being trained primarily as technocrats, they are less likely to have an emotional attachment to the peculiar nature of the product they are promoting. The success of their enterprises and the future of the artists in their stables obviously depend a great deal on their managerial skills.

Those who in fact plan and execute industrial strategies tend, whether by inclination or need, to mystify art and conceal its industrial aspects and often fall for their own propaganda. From business schools, Art Managers are beginning to transcend into the art world like never before.

Managers of Consciousness

About Me Brosia View my complete profile. They normally protest against tax rulings which declare their work to be nothing but a hobby, or to put it in Kantian terms, the pursuit of “disinterested pleasure. The producer and the distributor must then weigh the impact. As honorable as such and endeavor is-and it ot still a valid goal to strive for-it suffers from idealist delusions about the nonpartisan character of consciousness.