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It desperately cares what it вЂlooks likeвЂ™ rather than containing silent power which is of no interest. Repeating might be an excellent mode for replicating, but it is back to the surface again: what is вЂon topвЂ™. Certainly it would possess veracity, but unfortunately eliminates theВ artist. However, the crucial leap from image to concept, this displacement of image that throws out representation might not be the best place for replication to go. If one could jump over the dynamics of difference, this would be an excellent method for replication. Its presence has narrowed the gap between visibilities and articulation. Repetition is a breath-taking conceptual idea that has greatly pushed the limitation of resemblance holding the higher powers of non-identity and difference. Indeed, not to the vast double of language вЂ¦ So does it work for replication or not? Maybe yes, maybeВ no. The placing of this limitation is, of course, limited to works of art. And there is the dilemma of nothing can be the same in a finite and infinite world. For in our cybernetic world same is: temporal appearance empty. VoilГ , this is aВ no-go.Дouble has the spectacular problem of вЂsamenessвЂ™ which works for replication except for this burden. Such denial of critical elements in a work of art is like denying the artist his most powerful implement. There is no opposition or confrontation it is incapable of imposing and creatingВ action. The rigid technique required to make an exact detailed copy renders it without force the art work becoming static and dead. Or maybeВ not.Д¬opy, of course, has the absolute beauty of looking just like the real thing.

Replica could be re-do and re-make, but it is in-your-face cyber.

Replica might be repeating, but that is all surface. Replica could never be repetition, for repetition is difference. Replica might be double but its вЂsamenessвЂ™ will trip us up. And it is here that hovers The entangled challenge ofВ replication. Not as in the Foucault fold, but as in essence, force and potency: the interior silent power of art. Should We Reproduce the Beauty of Decay? A Museumsleben in the work of Dieter Roth Replication of Sculpture / Works of Art: Legal Guidelines

Replication and Decay in Damien Hirst's Natural History Petra Lange-Berndt Replicas of LГЎszlГі Moholy-NagyвЂ™s Light Prop: Busch-Reisinger Museum and Harvard University Art Museums

Replicas of Constructions by Naum Gabo: A Statement by the Copyright Holders Replicas and Reconstructions in Twentieth-Century Art Reconstructing the Forgotten: An Exhibition of 1970 s and 1980 s Video Installations, Re-staged with Authentic Technology Nothing but the Real Thing: Considerations on Copies, Remakes and Replicas in Modern Art Naum Gabo and the Quandaries of the Replica The Model of Vladimir TatlinвЂ™s Monument to the Third International: Reconstruction as an Instrument of Research and States of Knowledge Kurt Schwitters: Reconstructions of the Merzbau Karin Orchard

#VICE VERSA NYC ARCHIVE#

Gabo Cataloguing Project at the Tate Archive Thoughts on Replication and the Work of Eva HesseДЄnthony M cCallвЂ™s Line Describing a Cone Anthony McCall and Mark GodfreyД«lurring the Boundaries between Art and Life (in the Museum?)Дegradation of Naum GaboвЂ™s Plastic Sculpture: The Catalyst for the WorkshopДigitisation and Conservation: Overview of Copyright and Moral Rights in UK Law The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication

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