Difference between revisions of "Patafunctions"

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'''''Patafunctions''''' is an experimental text by Australian contemporary artist, [[Shaun Gladwell]].<ref>Gladwell’s profile on the Museum of Contemporary Art Australia website: http://www.mca.com.au/collection/artist/gladwell-shaun/, retrieved 12 April 2016</ref> It was published in association with Gladwell's exhibition titled ''The Lacrimal Chair'' (curated by [[Barbara Polla]] and Paul Ardenne<ref>Professor Paul Ardenne’s curatorial profile can be found here: http://www.fondation-entreprise-ricard.com/en/Curators/view/32-Paul-Ardenne , retrieved 12 April 2016</ref>) at the Sherman Contemporary Art Foundation, Sydney, in 2015.<ref>The Sherman Contemporary Art Foundation website can be found here : http://sherman-scaf.org.au/ , retrieved 12 April 2016</ref>
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'''''Patafunctions''''' is an experimental text by Australian contemporary artist, [[Shaun Gladwell]]. It was published in association with Gladwell's exhibition titled ''The Lacrimal Chair'' (curated by [[Barbara Polla]] and Paul Ardenne) at the Sherman Contemporary Art Foundation, Sydney, in 2015.
  
 
==Appropriation ==
 
==Appropriation ==
[[File:PATAFUNCTIONS-BACK-wiki.gif|thumb|left|upright|Back cover design for PATAFUNCTIONS]]
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''Patafunctions'' interrogates the strategy of artistic and conceptual [[appropriation]]. Following the exhibition of the publication [[Semiotext(e)]] as an art object during the 2014 Whitney Biennale,<ref name="Whitney-Semiotexte">{{cite web|title=Semiotext(e)|url=http://whitney.org/Exhibitions/2014Biennial/Semiotexte|website=Whitney Museum|accessdate=18 April 2016}}</ref> Gladwell’s text directly appropriates the graphic and literary style of these seminal works, in particular that of the ''Foreign Agents Series'' of the 1980s.  The success of the resulting simulation can be seen in the National Library of Australia's official attribution of the text to the original Semiotext(e) publishing house, its database entry conflating the ''Patafunctions'' cover image with that of Jean Baudrillard's text ''Simulations'' (1983).<ref>The National Library of Australia entry for Patafunctions can be found here: http://trove.nla.gov.au/work/193468261?q=patafunctions+&c=book&versionId=211888816 , retrieved 12 April 2016</ref>
''Patafunctions'' interrogates the strategy of artistic and conceptual [[appropriation]]. Following the exhibition of the publication [[Semiotext(e)]] as an art object during the 2014 Whitney Biennale,<ref>The online catalogue entry for Semiotext(e) in the 2014 Whitney Biennale can be found here: http://whitney.org/Exhibitions/2014Biennial/Semiotexte , retrieved 12 April 2016</ref> Gladwell’s text directly appropriates the graphic and literary style of these seminal works, in particular that of the ''Foreign Agents Series''<ref>Information about the Semiotext(e) series of publications can be found here: https://mitpress.mit.edu/books/series/semiotexte , retrieved 12 April 2016</ref> of the 1980s. The simulation of the Semiotext(e) format is enacted down to the publishing attributions on the internal cover of the book, this illusion enhanced by the participation of Paul Patton (a recognised translator from the original Semiotext(e) series).<ref>The original cover for Baudrillard’s Simulations(1981) translated by Paul Foss, Paul Patton and Philip Beitchman can be viewed here: http://avidreader.com.au/products/simulations , retrieved 12 April 2016</ref> The success of the resulting simulation can be seen in the National Library of Australia's official attribution of the text to the original Semiotext(e) publishing house, its database entry conflating the ''Patafunctions'' cover image with that of Jean Baudrillard's text ''Simulations'' (1983).<ref>The National Library of Australia entry for Patafunctions can be found here: http://trove.nla.gov.au/work/193468261?q=patafunctions+&c=book&versionId=211888816 , retrieved 12 April 2016</ref>
 
  
 
The text continues Gladwell's ongoing artistic interest into the technique of appropriation. ''Patafunctions'' develops upon previous investigations by the artist, for example in his earlier work ''Pataphysical'' ''Man'' (2005),<ref>Experimenta’s entry for Gladwell’s  The Pataphysical Man can be found here: http://www.experimenta.org/cms//vanishingpoint/gladwell.htm , retrieved 12 April 2016</ref> the title of this work being an [[appropriation]] of Imants Tillers' earlier painting ''Pataphysical Man'' (1984).<ref>The Art Gallery of New South Wales’ entry for Tillers’ The Pataphysical Man can be found here: http://www.artgallery.nsw.gov.au/collection/works/1.1985.a-lllllll/ , retrieved 12 April 2016</ref> Gladwell's reference to [[Imants Tillers]], who is often identified as Australia’s foremost [[postmodern]] painter and exponent of [[appropriation art]], embeds his work within a lineage of appropriation in which Tillers’ draws from [[Giorgio de Chirico]]’s ''The Archeologist (L'archeologo)'' (1927).<ref>Information regarding De Chirico’s The Archeologist can be found here:  http://www.fondazionedechirico.org/casa-museo/opere-esposte/gli-archeologi/?lang=en , retrieved 12 April 2016  n be found here: ng De Chirico''here: nce, Atafunctions iteny Biennale can be found here: porary arts mentioned, or use italic</ref>
 
The text continues Gladwell's ongoing artistic interest into the technique of appropriation. ''Patafunctions'' develops upon previous investigations by the artist, for example in his earlier work ''Pataphysical'' ''Man'' (2005),<ref>Experimenta’s entry for Gladwell’s  The Pataphysical Man can be found here: http://www.experimenta.org/cms//vanishingpoint/gladwell.htm , retrieved 12 April 2016</ref> the title of this work being an [[appropriation]] of Imants Tillers' earlier painting ''Pataphysical Man'' (1984).<ref>The Art Gallery of New South Wales’ entry for Tillers’ The Pataphysical Man can be found here: http://www.artgallery.nsw.gov.au/collection/works/1.1985.a-lllllll/ , retrieved 12 April 2016</ref> Gladwell's reference to [[Imants Tillers]], who is often identified as Australia’s foremost [[postmodern]] painter and exponent of [[appropriation art]], embeds his work within a lineage of appropriation in which Tillers’ draws from [[Giorgio de Chirico]]’s ''The Archeologist (L'archeologo)'' (1927).<ref>Information regarding De Chirico’s The Archeologist can be found here:  http://www.fondazionedechirico.org/casa-museo/opere-esposte/gli-archeologi/?lang=en , retrieved 12 April 2016  n be found here: ng De Chirico''here: nce, Atafunctions iteny Biennale can be found here: porary arts mentioned, or use italic</ref>

Latest revision as of 16:04, 23 April 2016

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Patafunctions is an experimental text by Australian contemporary artist, Shaun Gladwell. It was published in association with Gladwell's exhibition titled The Lacrimal Chair (curated by Barbara Polla and Paul Ardenne) at the Sherman Contemporary Art Foundation, Sydney, in 2015.

Appropriation

Patafunctions interrogates the strategy of artistic and conceptual appropriation. Following the exhibition of the publication Semiotext(e) as an art object during the 2014 Whitney Biennale,[1] Gladwell’s text directly appropriates the graphic and literary style of these seminal works, in particular that of the Foreign Agents Series of the 1980s. The success of the resulting simulation can be seen in the National Library of Australia's official attribution of the text to the original Semiotext(e) publishing house, its database entry conflating the Patafunctions cover image with that of Jean Baudrillard's text Simulations (1983).[2]

The text continues Gladwell's ongoing artistic interest into the technique of appropriation. Patafunctions develops upon previous investigations by the artist, for example in his earlier work Pataphysical Man (2005),[3] the title of this work being an appropriation of Imants Tillers' earlier painting Pataphysical Man (1984).[4] Gladwell's reference to Imants Tillers, who is often identified as Australia’s foremost postmodern painter and exponent of appropriation art, embeds his work within a lineage of appropriation in which Tillers’ draws from Giorgio de Chirico’s The Archeologist (L'archeologo) (1927).[5]

References

  1. "Semiotext(e)". http://whitney.org/Exhibitions/2014Biennial/Semiotexte. Retrieved 18 April 2016. 
  2. The National Library of Australia entry for Patafunctions can be found here: http://trove.nla.gov.au/work/193468261?q=patafunctions+&c=book&versionId=211888816 , retrieved 12 April 2016
  3. Experimenta’s entry for Gladwell’s The Pataphysical Man can be found here: http://www.experimenta.org/cms//vanishingpoint/gladwell.htm , retrieved 12 April 2016
  4. The Art Gallery of New South Wales’ entry for Tillers’ The Pataphysical Man can be found here: http://www.artgallery.nsw.gov.au/collection/works/1.1985.a-lllllll/ , retrieved 12 April 2016
  5. Information regarding De Chirico’s The Archeologist can be found here: http://www.fondazionedechirico.org/casa-museo/opere-esposte/gli-archeologi/?lang=en , retrieved 12 April 2016 n be found here: ng De Chiricohere: nce, Atafunctions iteny Biennale can be found here: porary arts mentioned, or use italic


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