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Tomislav Medak 2024-05-20 02:43:33 -07:00
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@ -24,7 +24,7 @@ Mark Rothko, at Pratt Institute in November 1958, proposed:
> 7. Hope. 10% to make the tragic concept more endurable.
“There is more power in telling little than in telling all,” Rothko commented on developing his art formula above [^1]. This recipe was more of a tip of an iceberg, adequate for a particular period of Rothko’s belonging to his times when it was necessary to recover from nihilism (after Auschwitz, Nagasaki, and Hiroshima after decolonial liberation wars and destructions) ![](shard:nihilism.md).
“There is more power in telling little than in telling all,” Rothko commented on developing his art formula above [^1]. This recipe was more of a tip of an iceberg, adequate for a particular period of Rothko’s belonging to his times when it was necessary to recover from ![nihilism](shard:nihilism.md) (after Auschwitz, Nagasaki, and Hiroshima after decolonial liberation wars and destructions).
Still, what could be read here is that besides a formula for creating art, there is another one for being involved in avant-garde art as a modus vivendi. This is why I bring Rothko: through parallel development of meaning in creating art, archives are also a piece of creation or a creative process. As an act of amassing and gathering various pieces in UbuWeb through the backdoor, avant-garde archives were not only on the verge of becoming just another form of hoarding. What makes a difference is the process of providing meaning to this specific form of collecting. You take Marcel Duchamp as your lawyer or not. In this sense, an archive, whatever is archived, is contaminated with knowledge of the end, sensuality, tension, irony, and ephemeral chance of never ever being used for future forms of creation.