academia Cultural Turns InTheory

The Arts of Air

Steven Connor addressed The Arts of Air at a talk in 2007 at Art Basel. As an introduction, he references Ruskin and the view that everything delightful comes from life, earth and air. Rust means life, and polished perfection means death.

Absolute Air

In conceptual art, art refuses to be reduced to the fixed object, or mistaken for that one object. Art has always struggled with the enchantment of objects, when often process is preferred. Duchamp’s Air de Paris, 1919, presents air as the art object. This gesture establishes immateriality as material. Air is not a readymade, but rather a ready to hand emblem of unmaking.

Homage to Duchamp’s Air de Paris

 No object embodies arts desire to have done with objects more than air.’ – Connor

…If air is nothing, and art aspires to identify with that… then art is nothing… and can therefore be anything. Right?

Art does consist of nothing in particular. Everything else is miserably final and particular. Similarly, air embodies a multitude of traces, but no single state of being. Impression without presence. Only outerness.

The desire of the unattainable.

Neil Mulholland talks about the creation of ‘living gestures rather than museological landfill’, in his Notes on Ambient Art.


The fixed is limiting. I’ve been looking at works by Robert Barry who wants to make minimal impact on his surroundings. It is important to remember that the invisible is not the inexistent.

Object Air

‘Let us recall what we are sure we know about objects…’

Objects are dead/fixed/permanent

Objects have no relation to each other

Objects are not free to change nature

Objects are for our use

Objects stay the same, for that use

Objects are needed by subjects

Objects are what we know

… ‘All this is mistaken.’

Air is, in essence, an object. It is errored to think otherwise. Objects are finite but not final. They are not immune to relations. Air is needed for objects and objects guide activity and allow us to move beyond ourselves.

Rubber Duck, 2009

Conner turns to the subject of inflatable art. I found this an unexpected direction. I didn’t expect the article to detail such literal interpretations of Air Art. However the comical and impermanent nature of the inflatable obviously relevant. From Deller’s Sacrilege to Floretijn Hoffman’s giant Rubber Duck, the delicate form of the inflatable is intriguing as an example of the transitory object.

Air is not an ideal image for art, but an object for it to work on. Air, then, is not immateriality.


I’ve said ‘Air’ too much. I need to go do something…



FAIR will be taking place at Tabot Rice from the 30st April – May 5th. Here’s what my group has in the mix.

The Micronation of Ahland          


Ahland will be welcoming Tourists from Wednesday April 30th 2014.

A Micronation is an Entity that claims to be an independent Nation but is not officially recognized by World Governments. A Micronation expresses formal and persistent claims of sovereignty over some physical Territory.

Ahland was born from the need for new Beginnings. With the Confusion created within all Aspects of national Identity we wish to offer a safe Haven for the creative and ambitious alike, providing a Platform for new ways of dealing with old and dated Issues. Within the Boundaries of Ahland, free Reign and Sanctuary will present Opportunity to exercise Thoughts and Opinions on all Aspects of Living. This is Our Quest to achieve a sustainable Nation.

The Opening of Ahland to Tourists will be marked by the ceremonial raising of the national Flag and a celebration of the rich and recent Culture of the Nation.

In the coming Weeks Ahland will be planning and publicising this Event. Watch this Space for News on progress of Independence and Opportunities to get involved in the Festivities of Ahland’s welcoming Event.