The interest in Artbollocks Theatre has been so great– including the prospect of some live onstage thespianism later this year– that I’m making a special effort to collect more of the worst press releases and artist statements for future performances. Here are some recent acquisitions that have attracted my wrathful gaze like the angry lighthouse in the Lord of the Rings films. Meanwhile, there’ll be a new episode of Artbollocks Theatre tomorrow (27th September) at 12.30 GMT.
FILLS THE SPACE, CONTAINS THE SPACE INSIDE ITSELF
“The space of the white cube is normally used to display objects. What Senstad is showing us are different works that have the removal of the object as a theme. In Color Kinesthesia and Color Synthesthesia IV she shows us light perceived as color. Small technically [sic] modifications in the perception can alter even an empty space into a massively colored place.
In the same way she shows that a sculpture is a three-dimensional object, obviously, but that this object not only fills the space in the white cube. It also contains a space inside itself. By folding out the sculpture she questions the function of the sculpture as a solid and defining marker of a gallery space, a way of seeing sculptures that minimalism taught us in the 1960s.”
The space is inside the space that fills the space but doesn’t. Either that, or somebody bought a pack of coloured light bulbs at IKEA because they were on special offer. Silly Modernism, teaching us that sculptures are solid three dimensional objects. Ha ha, so wrong. The ambulance driver is here to take you back to the retirement home for your medication, Modernism.
GREEN QUESTIONS FORMULATE FURIOUSLY
»Museum Off Museum« is formulating questions as to the current meaning of artistic practice and how it understands itself, as to the form and function of exhibiting, the future of knowledge generation and cultural mediation. The interest additionally circumvents the processes of analysis and translation as well as an investigation of static forms of representation in times of mobile communication. Expanding the contexts of knowledge, the history of cultural identity, the materiality and cultural codes of collections as well as artefacts play a central role in this regard. The process of differentiating between works of art and historical documents, images and reproductions, exhibits and displays, installations, stages and filmic setting will be shifting within the exhibition. In this process, the exhibition reflects, on the one hand, the subjective potential of museums’ narratives and academic methods. On the other hand, the symbolic order of knowledge defined by museums is being questioned, fictionalised and expanded. Besides, the project focuses on the influence of artistic interventions within museums and on exhibition concepts in the present day.
Oh hello, it’s our old friends “investigation” and one hand/other hand, back yet again to add nothing whatsoever to our understanding of art. Of course the interest additionally circumvents the processes of analysis and translation and… wait, no. For a moment there I thought I’d had a stroke and lost my ability to process language, but it’s OK. This person is just writing long strings of grammatically correct but content-free gobbledygook.
ANARCHIST CHILDREN DAYCARE
And so, faced with demands of balance and social adaptation, I oppose the claimed neurosis and dysfunctional logic. Faced with assurance and confidence reflecting a market’s good health, I claim self-deprecating esthetics of destruction (after construction) and of grime. Faced with agreed sobriety offering comfortable esthetic, “prefabricated” and easy to digest points of reference, I build a complex, brutal and fragmented work. Faced with the truly dictatorial so-called maturity of a laborious majority, I oppose a childish thing made of neon colors that could have come out of an anarchist children daycare. Faced with the unique and reassuring reading of a play existing for and by itself, I create a dependence of the works on each other, multiplying points of view and signs…
Therefore, this exhibition was built on the exploration of the limits of individual freedoms, rejecting any principle of adaptation and conformity to elaborate the esthetic hypothesis of a thought free to shy away from itself, its goals and habits at any time. It rests on shifting foundations that support the changing architecture of identity whose perpetual movement, escape or avoidance constitute the ultimate resistance in the face of the burdening rigidity of the enslaving machine…
All you so-called mature individuals are TOTAL DICTATORIAL FASCISTS, OK? This artist REJECTS your adaptation and conformity, you SLAVE SHEEPLE. [Music cue: Rage Against the Machine, Killing in the Name.] Continue reading