The Art of Fly Postering.
” If one wanted to make a work of art which was blank, an absence, a cancellation, some how devoid of meaning, it would clearly be impossible.” – Joseph Kosuth
This is because, as a public, we have already given meaning to the work by indicating that it is indeed art, and neither that act, nor art itself, is as simple as it appears. When one fly posters, it is ephemeral in nature.
You post the flyer; it gets taken down, defaced, or just dissolves in the rain and wind. That’s all it needs to do. Here today, gone tomorrow. You remain.
The act in which is taken, both as audience and artist, is just as important as the poster itself. The poster is a mere object that transcends a meaning but even in the act of destroying the evidence that a somewhat deviant act was taken upon the space, it is also recreating itself. A reinvention.
The problem arises when it isn’t as much a formal aspect as it is conceptual. Every piece of art assumes an audience, a community in which shares its discourse and social praxis.
Its form is its meaning and its meaning is comprised of relation to relations.
The art of fly postering works in arenas of areas. One arena is the community of artists who collectively through individual effort define what is a historical moment concretely in the practice of their activity. By fly postering, one must accept the categories in which it tags to. Such as activism, interventionist and graffiti. This is not devoid at any point, but merely adds to its importance, as a conceptual ideal.
The second arena is the mass cultural context in which the first arena is embedded. It is a process by which an institution creates the reality of its citizens. Artists have to fight for there meaning of their work in reflection of increased power structures of the ever expanding institutionalised and bureaucratisation lead up to the commodification of art.
To be reconsidered and continued….