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PUBLIC IMAGES and IMAGES of POWER Peter Weibel

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PUBLIC IMAGES and IMAGES of POWER Peter Weibel PUBLIC IMAGES AND IMAGES OF POWER Peter Weibel Sara Hornbacher - Anti-Scenes in Panama (A Tropical Movie) Petr Vrana - Medienpornesie Contrary to public belief, public images are strategies of subversion is to acknowledge that power, between art and politics - between and foundation of artwork we have the chance no longer produced by the art world or by the three classical categories of sign have lost scylla and charybdis there is another way: to uncover the power, to discover the truth by individuals. Public images have become the their function . We do not live any longer with deconstructing and reconstructing . Instead of reconstructing, deconstructing, receding, and domain of media : print media, street signs, signs which relate directly to objects in our en- representation, which is always a form of decoding the chain of signs, and by redefining posters, film- and TV-images, covers, billboards, vironment; we don't act any more according to adaptation, which is always a form of affirma- the signs. This shiftfrom ontology to epistemology logos, etc. Most of the time public images are icons, indices, or symbols which relate to objects tion, the aesthetic system and the social system is already announced by the shift from produc- media images produced by corporations, agen- through visual analogy, physical dependence, can be a coupling system for deconstruction and tion to post-production typical of the electronic cies, and political institutions . The goal of the arbitrariness, or conventional coding . Since all reconstruction . The comtemporary artist there- image, the media image. The ontology of the public image is propaganda for commodities objects are replaced by commodities, we have a fore has to reconstruct and deconstruct above image is based on the myths of old production and ideologies . Therefore public images have new category of signs which relate to commodi- all public images, the images of power, in an modes. The epistemology of the image is based not only become the promotional support for ties instead of objects. This new class of signs is effort to remake history, to reinvent the present, on the new modes of production which are commodities and ideologies, but the very struc- called logos. We are living in a logo-culture, a and to restock the real . Have the media turned post-productive and tele-deviced . Local topo- ture of commodity and ideology itself . Advertis- substitution for the historical iconographic and reality into a club - the reality club owned by logical production modes are replaced through post- ing images have become an essential part of the symbolic culture. In this logo-culture, the institu- lawyers, politicians, companies, corporations, spatially and temporally diversified from production process. Advertising a product, tions producing the public images, and the pro- the military? The artist and each individual has production modes. This shift production to which characterizes fully the which means to establish an exchange value ducts and logos for products, have become the the chance to reinvent reality through decon- post-production, image to and a need for a product through a campaign of frame of reference. In former times inner exper- structing media images . Most people experience transition from the cinematographic . the image, happened essentially in public images, is sometimes more cost-intensive ience or visions functioned as the point of real life only through media controlled by power electronic than the production of the product itself . There- departure. Mediated life is the fate of most people . Medi- the seventies, and was naturally experienced in fore public images have become a glamorous Modern image making therefore deals with ated life as a substitution for real life has become the beginning as a devaluation of the image . commodity in themselves . the social, institutional and political elements a private club only for members, the members of Since then any bad image could be saved in Images produced by painters rarely enter the which are constructing the image . In that sense the power class. Paintings are a kind of ticket to post-production, and the constructive elements public domain at all. Traditional pictures like the visual artist can subvert the framing and this club . Media images can turn into dirtytickets, of the image have become the subjective of the paintings only invade public space if trans- representation of the image by deconstructing false tickets, and therefore subvert the logic of image itself . The most technically constructive formed into media images . Traditional images the constitutive elements of the image. Are the the membership . Public images are media elements of the image have become the subject like paintings have lost their historical quality of social and institutional powers constructing the images . Media images are images of power. and the content of the image itself . being an image at all . They have become pure world and are they using artists as well-paid Public images are therefore also images of Through post-production both the availability commodities. slaves to represent the world as they have can- power. To deconstruct power is the true intention of the history of the image and the dispossession The subversion of the commodity structure of structed it? One of thefew strategies of a power- of deconstruction : to make the system incon- of the image have become an awareness . The the image is only possible within media images, less class, to which artists belong, is to decon- sistent with what is represented in media images . inflation of images has been a second wave, . since media images are the core of public struct and reconstruct images . Between repre- Instead of an ontology of the image built on generated by the emphasis on post-production antecedent, was the images . Media images by artists can play the art sentation and construction of the world - the the triple relation of object-sign-truth, we need The first wave, the logical the extinction of the of noise in the music of plutocracy . One of the classic dichotomy between powerlessness and an epistemology of the image built on the triple debunking of the image, relation of sign-power-truth . In this new relation historical qualities of image making, which now, 6 Ardele Lister - Zoe's Car Axel Klepsch - Augen Zu in a third restorative wave, are again simulated appropriation as revealed in the neo-movements an exchange value on the free market . By com- colonial splendor or misery in the commercial -as a drive, a hunger for the image, in painting of art, where rather appropriation, understood modifying information, information itself has be- film, the colonial exploitation film . After the as a nostalgia for a lost cause. as dispropriation, could mean rewriting history, come obscured to such a measure that revealing breakdown of spatial or racial colonization, the The process of image making is historically remaking the world by historical and social de- the truth about important social facts and events people in power started definitive and finally separated from (local) pro- construction of the constituents of the image, the to colonize their own or has become nearly impossible, as we all know . It foreign countries temporally and mentally . Tele- duction and related concepts like ownership, image making process, the representation mode is a ridiculous lie that there is a free press or that vision is the way to colonize etc . The traditional parameters of time, space, of the image. one's own nation . there are free media in any country. The news Print and public media mastermind, colonize, and socialization linked with production are The image in its frame and configuration of value of information is not important, but rather exploit, and subordinate one's own ration . The equally transformed by post-productive ten- representation is supressing the real . This su- its abstract free exchange value. mental colonization of one's own country, this dencies. In post-production images tend to show pression is linked to a specific function, which Everything has become liberated, has been brutal prolongation of a historical ex- new social, temporal and spatial modes, and comes from the neglected fact that the stable mode of set free - the arts, the media, the signs - at the ploitation and suppression, is the colonization of utopias of dispossession, etc. Appropriation is image (e .g . painting) is not the last value, has not very moment of history and only under the con- desire, of consciousness, of needs and the catch-word which tries to describe the pro- its real value in itself . The image needs its support values, of dition that freedom has no meaning anymore, at styles and minds, of attitudes and goals. A weak ductive and social consequences following the from other values - from history, from social least not in its historical meaning. Freedom today form of awareness of this problem, a weak form shift from production to post-production in acceptance and from money. The value of means freedom of abstraction, abstraction of of protest and opposition, is the contemporary image making, repeating the general tendency money is the real value of the image . Money is anything in to an exchange value, into an ab- practice of appropriating and deconstructing in economics of the production of products . The the last denominational value. Without this sup- stract free exchange value. Money is an abstract images of mass media, the media of coloniza- discourse of appropriation is therefore not only port an image has no value and does not exist. exchange value. It is the telepresence of objects tion . Decolonizing media is the task of a con- one of using foreign-found images, image banks, Public images therefore are images which sup- and values . The image as the telepresence of the temporary artist . Built on the power of repre- or dispossessing images -which often does not port money, which support this constitution of object repeats this logic of the capital .
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