Скачать или смотреть Summit Zer0 [ A talk with Per Hüttner ]

Per Hüttner (b. 1967) is a Swedish artist who lives and works in Stockholm and Paris. He was trained at Konsthögskolan, Stockholm, and at Hochschule der Künste in Berlin. He has shown his work extensively in Europe, Australia, Asia, North and South America. Solo exhibitions and major presentations include Zendai Contemporary in Shanghai, Göteborgs Konstmuseum, and Wellcome Collection in London. Participation in group shows includes Museu de Arte Moderna de São Paulo (MAM); Palais de Tokyo in Paris, the Hayward Gallery in London, Moderna Museet in Stockholm, and MACBA in Barcelona. He has performed at Tate Britain, Tate Modern, Pinacoteca, Museo Jumex, and the Venice Biennial. He is represented at art museums in Sweden, Poland, China, and Brazil. Hüttner is the founder and director of the international research network Vision Forum and a member of the performance collective 1+1=3 where he has been part of developing the EEGsynth a tool to use brain activity in performance art.

Hüttner's performance work investigates impermanence as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political, and economic structures and how that influences human communication and interaction. The work often deals with transformation, change or various forms of transgressions of boundaries or borders.

Summit Zer0
Meta-Tool: Resistance and Tacticality

“From its beginning, the artwork is handled in a way that enables it to survive culture. While one often speaks about artwork as a commodity, it is not a normal commodity. The normal commodity is made to be consumed—in other words, to be destroyed (eaten as bread, used as a car). So, in a certain sense, art is an anti-commodity. It is put under the condition of conservation—prevented from being destroyed by time and by use. And this, actually, is the essential characteristic of art: it survives its original culture, taking a long journey through all the other, later cultures. It remains at the same time foreign to these other cultures—an alien in their midst, carrying with it the knowledge of its past.”

The Museum as a Cradle of Revolution, Boris Groys

The word “Meta-tool” derives from Groy’s definition of art objects as something essentially different than commodities. Meta-tool is an ontological status that an object retains when its condition as a commodity shifts. The shift is marked by made-to-be-consumed-commodity turn into an immortal object, in the sense that it can outlive its original culture and context.
Questioning aesthetics and asking whether or not there is an essence to an art object is not a brand-new question in the realm of art. Following Groy’s ideas, an art object is an ontological status. Therefore, its being is not linked to the white cube or any authoritative figure in the art world. An art object is an art object regardless of the place of exhibition or the credit given by anybody except the artist herself.