Tag Archives: artbollocks

ARTBOLLOCKS THEATRE S3E4: PREPOSTAPOCALYPTIC

27 Mar

OOO BONDAGE UP YOURS!

Dramatic readings of the worst artist statements, gallery press releases and art criticism. All real, all serious, all horribly written. I apologise in advance for any foreign or jargon words that I accidentally pronounced correctly. In this write up of an exhibition from France we’ve not only got OOOers [sic], but also “negative faith”, wax balls, and typos a go-go (underlined in red, as if I’m that paperclip fellow from MS Word.) Multiple typos and grammatical errors are always good in a press release or any other form of official communication, because they really convey professionalism.

You can play along with your Artbollocks Bingo card, and you can watch more Artbollocks Theatre here on the blog or on my Vimeo channel.

If you don’t know what Object Oriented Ontology is, then a quick look at Wikipedia is probably quite sufficient. If you do know what Object Oriented Ontology is and it’s (somehow) one of your influences alongside animism and “the theoretical reflections of the Nouveau Roman novelist, theorist and editor Alain Robbe-Grillet”, then I don’t know what to say except that you must be a riot at parties.

The Promise of Moving Things deals with the so-called life of objects in our current pre-post-apocalyptic paradigm.

“Pre-post-apocalyptic?” Does this guy know something the rest of us don’t?

Influenced in equal measure by animism, the much-discussed philosophical movement Object Oriented Ontology, the surrealism of Alberto Giacometti’s early masterpiece The Palace at 4 am (1932) and even the theoretical reflections of the Nouveau Roman novelist, theorist and editor Alain Robbe-Grillet (an OOOer, so to speak, well avant la lettre), The Promise of Moving Things seeks to address just that—the very idea that there exists some promise within objects in a world in which humans no longer roam the earth. Neither a critical rejection nor an endorsement of these ideas, the exhibition embraces the ambiguity at the very heart of the word promise. It questions to what extent this negative faith in the cultural and animistic legacy of objects is a genuine rupture with the anthropocentric tradition of humanism and to what extent it is merely a perpetuation of it.

“Just that”? Just what? There’s no obvious subject for this phrase, except for what somes afterwards, which is not a “that” yet because we don’t know what it is until we read on. The next sentence commits the same error; “these ideas”… which ideas? How does one have “negative faith”? “Lack of faith” makes sense and is easily understood. Negative faith suggests something akin to a bank overdraft or a balance sheet. Damn, my faith cheque bounced because I didn’t have enough faith in the bank.

Thus does the exhibition consist of works that features objects or processes which seem to possess some form of human subjectivity. For instance, the Austrian, Vienna-based artist Hans Schabus’s sprawling sculptural installation Konstruktion des Himmels (1994) could merely be a random collection of variously seized wax balls and an elaborate light fixture or the most human forms of celestial organization: a constellation (which it is: a recreation of Apparatus Sculptoris [Sculptor’s Studio], identified and named in the 18th century by Louis de Lacaille).

Please don’t seize my wax balls! The latter part of that sentence in particular is a grammatical car crash. There are, in fact only two sentences in the whole paragraph.

Almost, but not entirely by association, German, Berlin-based Mandla Reuter’s sculpture installation. The Agreement (Vienna) 2011, which has been paired with Schabus’s work and is comprised of an armoire hanging from the ceiling, assumes a quasi-, supernatural and animistic quality.

Quasi what? I think the intended meaning is probably quasi-supernatural– whatever the hell that means– but there’s a random comma in the way, and too many commas in the paragraph as a whole. Spelling and grammar checker: USE IT. “Almost, but not entirely by association, German” is just plain weird. Even if it were true, how is this cogent information?

Producers-Springtime-for-Hitler

The transference of so-called human subjectivity is unmistakable in Swedish, Malmö-based Alexander Gutke’s work Autoscope (2012). This 16mm film installation portrays the trajectory of a piece of film passing through the interior of a projector, exiting into a snowy, tree-dotted landscape, ascending upward into the sky before plunging back down to earth and looping back into the projector, and repeating the process, all as if in an allegory of reincarnation. The American, New Hampshire-based artist Michael E. Smith’s slight sculptural interventions, which often consist of recycled textiles, materials from the automotive industry, animal parts, and a variety of toxic plastics, are known to possess qualities hauntingly evocative of the human body, as if the spirit of one had entered the other. Drawing his formal vocabulary from machines and tools, French, Dijon-based artist Antoine Nessi creates sculpture, which can perhaps be best described as post-industrial, in which the inanimate seems to take on an organic quality, assuming a life of their own. Finally, the practice of the Swedish, Berlin-based artist Nina Canell is no stranger to the kinetic and to a certain, if specious, sense of animism. Something of a case in point, Treetops, Hillsides & Ditches (2011) is a multi-part sculpture comprised of four shafts of wood over the top of which a clump of Iranian pistachio gum has been spread and which slowly crawls down the sides of the wood, enveloping it, like living a skin.

Nothing and nobody can ascend downwards. Ascending is by definition movement in an upward direction. “No stranger to the kinetic and to a certain, if specious, sense of animism” is just cobblers. And people who stick their gum onto things should be prosecuted, fined and flogged like they are in Singapore.

Thus is the reception of each work complicated and vexed through issues of subjectivity, projection, necessity, and desire. Now to what extent the works are complicit in that reception both varies and is debatable. Whatever the case may be, it is virtually impossible to say, but this does not necessarily mean that it is impossible to conceive of a world without humanism, as argued by Robbe-Grillet, at its center.

Bloody humanism. Get the fuck out of here.

ARTBOLLOCKS THEATRE S3E3: VOCABULARY

13 Mar

“I’M SORRY, HE’S FROM BARCELONA”

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Dramatic readings of the worst artist statements, gallery press releases and art criticism. All real, all serious, all horribly written. I apologise in advance for any foreign or jargon words that I accidentally pronounced correctly. This time, an artist expresses his utter disdain for and rejection of the fetishised, unique art object and the mystique of the all-powerful curator by working with a curator to create and display unique, fetishised art objects at a gallery in Barcelona. Under some of the pretentious self-importance there’s actually quite a lot I agree with in the text that follows. However, I rarely go to the trouble of writing lengthy screeds against certain practices or attitudes only to immediately turn around and take part in them with gay abandon. At least not knowingly.

You can play along with your Artbollocks Bingo card, and you can watch more Artbollocks Theatre here on the blog or on my Vimeo channel.

“Beneath the dark and pestilent surface of the current state of affairs sunken in corruption and despair, frivolousness and aesthetic vanity, there is an emergent narcotic period in which almost no one bothers to assess and understand the process behind a work of art.”

Why should they? If an artist’s process is the most interesting thing about their art, then their art is probably not very interesting and neither are they, as artists or as human beings.

“The frivolousness is not Manzoni and his Artist’s Shit (which it turns out was not even artist’s shit) but crosses the world in a network of interests, favoritism and opportunism that inform debates and openings. 

Gillo Dorfles predicted that the critic would end up substituting for the artist. Perhaps he only erred in the nomenclature, for the word that describes him has gradually been replaced by others, such as curator or cultural administrator. Emmanuel Lévinas, who is more self-effacing, tells us that not only the name, but also the figure, as seen in the previous century, has now disappeared.”

Unless the people to whom you refer genuinely are cultural touchstones that any educated person in the world could be expected to know, either (briefly) explain who they are, or at least provide a proper reference for the source of your quote or paraphrase. Otherwise you’re just name dropping.

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ARTBOLLOCKS THEATRE S3E2: INSTRUMENTALIZED

16 Feb

thunderdome

Dramatic readings of the worst artist statements, gallery press releases and art criticism. All real, all serious, all horribly written. I apologise in advance for any foreign or jargon words that I accidentally pronounced correctly. This time, two artists in a Belgian “overall installation” that seems to be about interfering with virgins. You can play along with your Artbollocks Bingo card, and you can watch more Artbollocks Theatre here on the blog or on my Vimeo channel.

“From the stock of a museum, Sophie Langohr unearthed fifteen statues of the Virgin Mary in the Saint-Sulpice style, which today represent the purest form of religious knick-knack and the beginnings of a semi-industrial art. The artist confronts the outmoded faces with the ones found on the internet of the current muses that incarnate the big brands of the luxury industry.
 As diptychs, these transfigurations give us the consummate illusion of a particularly dreaded cinema-photo-digital aesthetics.”

Yes… but why did she do it? This information is totally absent, and it is perhaps the most cogent thing we might like to know before we’ve seen the work, or if not cogent then at least it’s the aspect that might allow us to decide whether what the artist has done actually has any purpose or merit. How odd that we’re specifically denied the option of doing so. HASHTAG SARCASM. How does one confront faces? If this just means “putting them next to one other”, then just say so.  What is “cinema-photo-digital aesthetics”, why is it “particularly dreaded” and by whom?

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ARTBOLLOCKS THEATRE 3: SUPER COP

2 Feb

ABT3_Copper

S3E1: CONTEMPLATIVE

Yes, it’s back. Even more dramatic readings of the worst artist statements, gallery press releases and art criticism, this time with a police show-on-VHS-tape twist. Watch new arty farty perps and syntax villains brought to justice every two weeks or so. In this episode, we learn how it’s possible to write four paragraphs and nearly four hundred words about a man who built some walls. But wait… he built some walls in an art gallery that already had walls. Is your mind completely blown?

You can play along with your Artbollocks Bingo card, and you can watch more Artbollocks Theatre here on the blog or on my Vimeo channel. I tried really hard to mispronounce all the foreign words and jargon, but I think I still accidentally said some of them correctly. Sorry about that.

Presented at ISE Cultural Foundation, the site-specific installation Time Would Not Diminish Their Strength But Add Wisdom To It explores the sculptural potential of space by diverting one of its main components.

Are you going to tell us what the main components of space are, then? Or which particular component is being diverted? No? Probably because you can’t, given that space is an abstract mass or count noun. Space doesn’t have components because space is defined by what it’s not and what is not in it rather than being a thing in itself. I know it’s complicated, but if you’re a curator in the business of justifying the unjustifiable, or a po-faced conceptual artist, don’t you think it’s particularly important that you bring all of your intellect (such as it is) to bear during any discussion of complex concepts, instead of just leaving the frayed edges of half-finished thoughts to dangle?

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“A TEXTUAL PALIMPSEST”

21 Jan

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A recent press release (from repeat offenders Empty Cube in Lisbon) is too short to be worth bothering with for an Artbollocks Theatre reading but rest assured that is, nonetheless, total bollocks. Doing it would also make them the first art gallery featured twice. I guarantee that the long-promised third series of Artbollocks Theatre is coming very soon, by the way. I haven’t done it yet because either:

a) A powerful conspiracy of evil art world figures is doing everything they can to fight my message.

b) I’ve been too lazy and haven’t made the time to do it.

Decide for yourself which seems more likely, but if you’ll permit me to give you a clue I would tend towards a). Search your heart.

“The work consists of a mass of archive materials, specifically gathered by the artist himself for this ephemeral project…”

By the artist himself? Fuck me sideways with a plinth, what dedication. Nobody ever gathered their own materials before. The accompanying image (below) seems to confirm that, yeah… it’s just a bunch of papers in box files. Cross off (NORMAL THING) IS AMAZING BECAUSE ARTIST DID IT on your Artbollocks Bingo card! What a pity all the millions of office workers who’ve had to drudge away typing, printing or photocopying things, putting pieces of paper in folders and then taking them out again and then putting them in an envelope or back into another folder, ad nauseum, never realised they were actually making an ephemeral art project.

NNF_e-artnow

What most of us call “putting some papers in box files” is what they call

“…collecting and archiving a variety of elements that highlight and reconnect histories and stories, as well as the apparent affinities and relations of various references; in his work, the archive acts as a conceptual sub-structure that confronts us with our perennial and irreversible condition, in which memory is made to reconcile with the precise reconstruction of its fragmented legacy.”

Entendeu? Bom.

Nuno Nunes Ferreira explores this model exponentially by amassing a bibliographic archive that covers a whole year and is continuously dissected until the last second of that same year, whose reference in time is the exact day of the project’s presentation at EMPTY CUBE: January 23, 2015. The work’s metrics condenses temporality, juxtaposing it to a textual palimpsest that possesses a clockwork-like quality. Indeed, it is as if these texts were the face of a clock, on which we can constantly pinpoint time via the tangible possibility of recognizing the referential moment of a particular second in the sequence of the next movement.

There are so many questionable phrases in this paragraph that instead of repeating them I’ve just underlined them all with increasing despair, like a teacher or the Paperclip Man in old versions of MS Word.

1) Unless you mean that the paperwork is increasing proportionally to its current dimensions or extent, then you don’t mean exponentially. An example of an archive growing exponentially would be if every item of paperwork gave rise to two or more items of paperwork, each of which in turn gave rise to two or more items of paperwork, and so forth. I doubt this is happening. One also cannot amass something while simultaneously dissecting it, i.e. taking it apart to determine its internal structure. What amassed would be scattered and disassociated fragments of your archive, not necessarily the archive itself.

2) What are the work’s metrics? How does one condense temporality? Is it like condensed milk, sort of not really milk and not very nice? How does one juxtapose condensed temporality with a clockwork textual palimpsest? A palimpsest is something written or drawn over visible traces of previous material, so specifying that it’s textual is fine if we can stomach use of a word like palimpsest outside its sensible original context of medieval illuminated manuscripts. But how is it like clockwork? Is this all just a fancy way of saying that the artist is writing or doodling on old files?

3) As for “pinpointing”, “referential moment” and all that jazz… I genuinely don’t know how to process this as a meaningful sentence. It’s just aphasia or word salad; syntactically correct English but completely devoid of sense.

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