Plus vite que l’art postal, plus vite que la Correspondance School of Art de Ray Johnson. Les Futuristes auraient aimé. Mais la vitesse ne fait pas l’oeuvre, ni son esthétique, ni son contenu. Ni la créativité de l’artiste, ni celle du receveur.
hf
El Tweet Arte se presenta como una actualización y nueva dinámica del arte postal de los anos 1970, de la New York Correspondance School of Art de Ray Johnson, de los sellos de goma de los artistas, de las píldoras de la Farmacia Fischer, del grafiti y de los carteles sobre los muros, de las señalizaciones imaginarias en las calles, del tag, o mas anteriormente del tatuaje sobre la piel.
El tweet arte puede parecer como el gorjeo de las aves, como un juego divertido, una celebración eufórica de la vida y del sol, diciendo, Yo tweet, luego existo. Pero puede tener un objetivo mucho más critico, como una nueva etapa del arte sociológico, pues tiene fuerza de cuestionamiento artístico, político, ético en redes digitales de amplia comunicación social*.
Hervé Fischer
*Arte y comunicación marginal, Balland, Paris, 1974.
We have known the Correspondence School of Art of Ray Johnson, the postal art, the pills from the Fischer Pharmacy Inc., the artist’s stamps, graffiti and posters on the walls, imaginary signalizations in the streets, tags, and now we try a new way: the tweet art on the web and in the social media. Not limiting us to 140 characters or SMS, we create and diffuse small images, provocative icons and pictograms, which may question art, politics and ethics. Of course, as one may say: l tweet, therefore l am, giving echo to the euphoric tweet of the birds who enjoy life and son. There may be a joyful entertainment with tweet art. But we may also consider it as a new step in sociological art, with its critic attitude and interrogative aesthetics*.
Hervé Fischer
*Art and marginal communication, Balland, Paris, 1974
We have known the Correspondence School of Art of Ray Johnson, the postal art, the pills from the Fischer Pharmacy Inc., the artist’s stamps, graffiti and posters on the walls, imaginary signalizations in the streets, tags, and now we try a new way: the tweet art on the web and in the social media. Not limiting us to 140 characters or SMS, we create and diffuse small images, provocative icons and pictograms, which may question art, politics and ethics. Of course, as one may say: l tweet, therefore l am, giving echo to the euphoric tweet of the birds who enjoy life and son. There may be a joyful entertainment with tweet art. But we may also consider it as a new step in sociological art, with its critic attitude and interrogative aesthetics*.
Hervé Fischer
*Art and marginal communication, Balland, Paris, 1974