Jens Badura

Germany (residence), Austria (citizenship) °1972
research interests: culture and aesthetics, creative economies
affiliation: Zurich University of the Arts (ZHdK)
en

Jens Badura is a philosopher and works at Zurich University of the Arts (ZHdK) and at the University for Applied Arts in Vienne (Angewandte). His work focuses on practice-oriented aesthetics and creative economies. Current projects deal with the significance of artistic ways of thinking and procedures outside the established art business as well as with the social relevance of art academies.


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Exposition: 10 Diary Entries [2010-12] (01/01/2013) by Simon Granell
Jens Badura 18/06/2013 at 23:04

The exposition deals with the self-investigation of the sources that impacts on the creative process of the artist: through the exploration of his diary (that is supposed to represent a certain state of attention and status quo in the artistic process) selected diary-entries are connected to a complex system of inspiring sources – not only to realize an autobiographical research on the proper reference system but also as a strategy to question the problematic assumptions of the current debate on intellectual property through the exploration of the personal situation as a creator.

 

The approach could be understood as a concrete artistic proposition to take some claims of transtextuality for serious, to challenge it aesthetically and to interpret the own work as reflection of a complex cultural „atmosphere“ – through a combination of autobiographical self-investigation with a critical statement on the contemporary discussion on authorship etc.

 

More difficult is the concept of the exposition itself since it remains rather schematic and repetitive. Although the diary-model requires per se a certain repetitive structure, one could a imagine a more subtle and complex way to present the network of (contingent) thought- and creativity constitutive influences: this could be done for example through another layer of connection between the cited sources and, mainly also on a visual level that would allow to experience the dynamics of interference between the textual level and the artistic work.

 

Furthermore the exhibition might include other forms of articulation and investigation than only the word-by-word-connection between the diary entries and the sources. One could imagine a kind of “opening” of the related sourced towards a certain symbolic/aesthetic universe that offers new paths to investigate the author’s phantasmatic playground. This also could help to situate a bit more precisely the references given: by doing so the diary entries would be the “door” into an imaginary space that is not only indicated formally but becomes aesthetically accessible to the visitor.