Art Essay Fiction Future Novel

Art Essay Fiction Future Novel-29
The curators of Documenta ask him to spend the week writing in the corner of a small Chinese restaurant.Vila-Matas finds this absurd, and spends most of his time at the (real-life) Dschingis Khan restaurant sleeping, inventing conversations between the German and Chinese people around him, and actively avoiding the one crazy person who approaches him.“But a work of art, like the world, is a living form.

The curators of Documenta ask him to spend the week writing in the corner of a small Chinese restaurant.Vila-Matas finds this absurd, and spends most of his time at the (real-life) Dschingis Khan restaurant sleeping, inventing conversations between the German and Chinese people around him, and actively avoiding the one crazy person who approaches him.“But a work of art, like the world, is a living form.

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And in an interview published this spring (also in ), the novelist Tom Mc Carthy described how falling in with a crowd of visual artists in his twenties gave him a more sophisticated understanding of literature’s possibilities: “These people generally had a much more dynamic engagement with literature than most ‘literary’ people …

and their work seemed to be actively addressing the whole legacy of literary modernism (in the same way that Bruce Nauman works through questions posed by Beckett, for example, or Cage with Joyce). [T]he art world—to a large extent—provides the arena in which literature can be vigorously addressed, transformed, and expanded.” This literary coalescence around visual art seems increasingly less coincidental and more and more the entire point. Just as Marcel Duchamp asked if a urinal could be art, the readymade novel asks what literature can be, and what it should be in the future.

Most art fairs, including Frieze London and Frieze New York, feature talks by writers in their programs.

Hustvedt, the author of a well-received book of art criticism as well, has lectured at the Prado and the Met.

The avant-garde writers of today aspire to be conceptual artists, and have their novels considered conceptual art. Instead of trying to understand reality via a slew of concrete details, omniscience, multiple viewpoints, or anything else that we’ve traditionally expected from fiction, the readymade novel poses an idea or raises a question.

It is more interested in the concept behind a work of art—behind itself—than its execution.

The reader has unvarnished access to his rich interior life—all his anxieties, opinions, and experiences of viewing installations at Documenta.

Indeed, Vila-Matas demands an active reader: Just as the conceptual art installations at Documenta demanded viewer participation to form meaning, Vila-Matas asks the same of his readers.

Cole and Lerner are on their way to greater recognition, and one hopes their future novels will create more buzz, but Vila-Matas and Zambra will have to wait for more English-language translations of their work to get their proper due; Sophie Calle may be perpetually too avant-garde.

Regardless of their varying commercial successes, the emergence of these writers suggests at least a small audience with an interest in how we experience art today.

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