Frieze Art Fair 2014

This weekend the streets of Chelsea were deserted and signs were pasted to gallery doors, informing of openings that were no longer happening, but would certainly happen later and sorry for the inconvenience.

The art world had gathered at the remote Randall’s Island, in the rain. On hundred and ninety galleries, hundreds of artists, and thousands of guests packed the giant white tent that was the Frieze Art Fair 2014.

Frieze is an event that must be experienced, and is an event that is currently being planned for next year. Frieze 2015 will be the subject of meetings – ever more desperate until this time next year. Make no mistake, it’s already happening. It’s a sure thing. It’s an institution.

We are always surprised at what we see, but not the photography. We know our field, modestly. In the same way the sculptors are unsurprised at the inclusion of a giant silver shark cage, and point and nod to one another, being knowledgable in their field; we point and nod at Richard Prince, being knowledgable in our field. What makes the event exciting is not the event. Really, that’s simply the culmination of the previous years planning (remember those desperate meetings), and what worked well in the galleries and would be expected to sell. Art markets watch Frieze, the art market is Frieze.

But purge that bitterness from your understanding of the spectacle. Attempt an earnest walk around the space. You don’t know a third of what you are seeing, although you are certainly expected to bluff at least a generous half. There will be the pillars of their genres that you are to acknowledge then ignore. Seek out something new. The Damien Hirsts, the Jeff Koonses, the Elad Lassrys, Chuck Closes and the Yayoi Kasamas you have seen before, so no need to dwell.

Most of the serious collectors have already pre-bought what they are going to buy. This takes some of the fun out of interacting with the gallery assistants, and shortens the time spent nibbling free snacks, getting lost in the green eyes of some Icelander, and nodding earnestly. So Frieze gamely throws us all in a tent together and then offers no guidance or further information. It is an industry event, and all we professionals require is a complimentary tote bag and a map lacking cardinal directions. We circle and poke and stare and murmur and drink sparkling water. It’s good to be totally out of your depth once in a while. Go and watch the performance art and ask yourself how you totally avoided seeing any performance art for the last year (other than that once, and then again, straight in the deep end).

That is why it’s a great occasion. No one is fully prepared for it, no amount of homework is going to help.

 

Frieze from a photography interest:

 

There were a lot of highlights. Elad Lassry showed his interactive and highly textural multimedia photographs. Carrie Mae Weems’ Slow Fade To Black was as relevant as it was in 2010, the Brooklyn based artist staged scenes that examined race and gender.

One of the most interesting trends this year, as it was last year is the steady increase of female middle eastern photographers. Two years ago it was and aberration to simply be a female middle-eastern photographer, with artists like Shirin Neshat leading the way. Shirin Aliabadi’s City Girl portraits shone from their spot in The Third Line’s booth, next to Hassan Hajjaj’s brilliant portraits of crass commercialism and swagger; making up probably our favorite exhibitor of the entire show.

Of course there were some moments that couldn’t happen anywhere other than Frieze. In the middle of the sodden lawn an artist sat, rocking back and forth in the rain. An incredibly tenacious sculptor threw some popcorn on the floor, demanding payment, and an instillation artist removed a section of floor, providing the only dry grass on the island. There was a huge bubble, a strobe light that made a globe look like water, and members formerly of Pussy Riot where there to talk about Russian prison reform. In Russian.  (..? solidarity!)

 

 

Text by John Hutt 

Photos by Tatiana Kiseleva

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Yinka Shonibare, MBE

 

 

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Aneta Grzeszykowska
Negative Book #19, 2012-2013
Raster

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KwieKulik
Detail of Activities with Dobromierz, 1972-1974
Raster

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Aneta Grzeszykowska
Negative Book #77, 2012-2013
Raster

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Zhan Wang
Flying stone, 2007
Long March Space

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Sabine Reitmaier
UNDER ABSTRACTION, 2012
Galerie Cinzia Friedlaender

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Isaac Julien
When the Tree Blooms (Ten Thousand Waves), 2010
Victoria Miro

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Goshka Macuga
Of what is, that it is; of what is not, that it is not 2, 2012
Andrew Kreps Gallery

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Rodney Graham
Pipe Cleaner Artist, Amalfi, ’61
303 Gallery

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Auntie Walker’s Wall Sampler for Savages
Kara Walker
Sikkema Jenkins & Co.

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Shirin Aliabadi
City Girl 2,City Girl 3,City Girl 4, 2010
The Third Line

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Hassan Hajjaj
Taha Tamsamani, Zezo Tamsamani 2010
The Third Line

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Elad Lassry
303 Gallery

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Carrie Mae Weems
Slow Fade to Black, Set II, 2009-2010
Jack Shainman Gallery

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Andreas Gursky
Nha Trang, the detail

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Robert Mapplethorpe

 

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The Mire of Museum Funding

The recent controversy surrounding the funding, by an evil mining corporation, of Sebastian Selgado’s exhibition at London’s Natural History Museum has brought up an issue that is in some ways the most basic issue about art. Authenticity and value.

The problem with the art world is money. Money and subjectivity. Subjectivity attached to perceived authenticity. Should a museum or artist ever say “no” to a grant?

The role of a museum is to hold, care for and display art. This is distinct from a gallery where a gallery’s objective is to display and sell art. A gallery is often self funding, a museum never is.

In more civilized parts of the world, admission to most museums are free and the museums are paid for with public money, while in other places museums are run as businesses, and there is always a problem with funding.

Unfortunately we do not live in a Star Trek utopia, instead we must deal with capitalism.

The tenants of capitalism basically say that something must make money or it’s not worth doing. In order to make money an object must have a purpose. Art has a purpose to some, and to others it’s purpose is to be purposeless.

There is no agreed upon currency that makes sense in the art world. So museums must require membership fees, entry fees or rely on meagre state grants. Grants that are hard to come by because the bureaucracy of capitalism is completely at odds with everything culturally worthwhile. The two worlds rarely collide on an even footing.

Sometimes art wins out, Dali sells four paintings before breakfast, Duchamp fools a museum into buying a urinal, and so on. Other times art loses, paintings are sold to private collections, or artists starve and commit suicide.

Recently capitalists have become interested in art as a tradeable commodity. Art is seen as more stable investment in this economic crisis entirely brought upon by unregulated capitalists ascribing arbitrary value to things they don’t fully understand. So, as art is now a ‘safe’ investment, the capitalists rush to do something they love to do – put arbitrary prices on things they don’t fully understand and sell them amongst themselves.

Some artists are doing well in this new system, for now, the value of a painting could jump 500% in a day, then drop 900% the next, but it allows artists to get money and continue making art. For what ultimate purpose? We are still yet to figure out, but capitalism now argues art for the purpose of investment and trading.

Then what of museums? Collections of ancient works that are literally priceless. Priceless is a word we use when we mean something is hugely expensive, but here it is used in its original sense of being unable to have any monetary value ascribed to it. The whole is greater than the sum of its parts. Museums also house ancient art from around the world.

The Metropolitan Museum here in New York has a great exhibition on the first great capitalist foray into ancient artistic traditions. The last ten or so ounces of beautiful gold and silver ornamentations that still exist after the Spanish drove out the natives, melted all their exquisite gold art and used it to fund a war against other capitalists (thankfully the Armada sunk and we can only hope they died slowly).

In the more modern world, museums get money from corporations who make more money than governments, and no money is achieved through fully ethical means. So when a museum gets a grant they have to go ahead with the show, they are forced into it by the broken system we are all forced to operate under. The ends justify the means, Museums can’t afford to be unbending in their principals.

We can’t blame Selgado for taking the money and putting on a show, a show that could raise awareness of the problems inherent in exploiting natural resources and displacing indigenous peoples.

Don’t hate the player hate the game. We can’t fault anyone for taking money from anyone, all money is tainted.

originally published in Musee Magazine. 

Vegetable Stock

JUL
17
2013

Vegetable Stock

Very rarely do you have the exact same items on hand to make a vegetable stock, sometimes one has a mountain of fennel tops, other times an overabundance of celery ends.

The important thing is to use what is available, but flavor the broth with the same spices each time.
I find due to the amount of prancing, slicing and tossing of items in to pots that Rossini works best for this one.
The first thing is to get a large stock pot to which you will add your fixins. A splash of neutral oil and a low flame.
    Then make your way around the kitchen, selecting leftovers that others are prepping. Parsley stems? Great! Leek Tops – even better.
I generally always have on hand – Parsley Stems, Terragon stalks, chevril stems, Leek tops, Fennel stalks, Celery stalks, Carrots, Onions (yellow and red), and garlic.
Roughly chop all these characters and throw them in the not hot oil. Let the leeks wilt and the onions sweat, give a good browning.
Now is the time for herbs and spices, accepting the stems that are already in there of course. Sprigs of thyme are essential, as are bay leaves.  Since this stock is designed for body (it is, after all, not broth), I like to put earthy flavors, ala renaissance, as they say. It’s an old trick, so old it fell out of favor as we put more spice, more fresh into our soups. A dash of nutmeg, a few cloves, not just for christmas or the 16th century kitchen. Nutmeg ads an essential depth, while staying in the background, if you use the appropriate tiny amount.
All this is beginning to get hot, and smell roasted, so add the water, bring to a boil and simmer for a mere 25 minutes.

Atlanta Hood shit part 1: The Cellphone

The Cellphone

Groggy from sleep, Alex was stirring sugar into a mug that had once been white. Now it was chipped around the rim and the small handle. Sugar and milk had created a hard crystalline surface down its greying side. There was a sharp knock at the door, knocking designed to be heard, if needs be, in the bedroom. Two walls were between the kitchen where Alex stood and the bedroom. One wall was hung with a fraying picture of New Order and the other, inside the hallway, was decorated only with stains and a polaroid of a black cat. The knocking was too loud for someone newly awake and next to the source.

He opened the door, and upon seeing the face of his neighbor unlocked the black burglar bars. Alvin lived with his mother in the other half of the duplex. Alvin was tall and dark skinned, his dreaded hair came down to just above the lump on the back of the neck where the spine protrudes. He didin’t like his name to be known, and had chosen the moniker ‘Dread’. He was proud of his hair. He was thin, but hid the fact with tent like white t-shirts and huge jeans. There was a liquor store that sold white tees by the bundle and various other items for the discount that came from working with boosters. Alex walked into the living room with him and thought about offering tea, but there were no clean cups – he remembered after feeling the sticky surface of his own.

There was a small green couch against the back wall. Above the couch the phrase “FASHION KILLS PERSONALITY” was scrawled on the wall in matte black paint, from a large tipped pen. Alex sat in the couch and watched Alvin sit on one of only two more seats, a hard plastic thing from Ikea that was supposed to light up. They never work, he thought, the thing had worked maybe four times in the last 2 years. And besides, it never looks good when it does. The only other seat in the room was a chair that had been stolen from a dentist’s office. A huge surgical white chair that could lay flat or up as access to the teeth required. Stiff arms jutted from the back and the base was a white box full of broken and obsolete machinery. No one liked to sit in that chair, Alex’s guests always balked at the first sight of it viewing it with suspicion, thinking that there was no way of knowing what had been done there, fearing bodily fluids and bad memories of dental offices.

Alvin shook his head as he thought about what his mother would say about the room, and sat. “Whats good? I was visiting my mama, when you got to go to work?”. Alvin spoke fluidly and languidly, full of slang and a southern touch that was the African American South. Since Alex had moved there, he noticed that everybody spoke this way. Alex found himself injecting new vocabulary into his English accented voice. He thought about the grill at work and how he only had 4 hours until he had to be there.

“I have to be there in 4 hours. We good. What’s up?”

Alvin was preoccupied with his phone. “My girl is calling me acting crazy.” To confirm this the phone was put on speaker and the shrill voice was asking where the goddamn hell you been. “That’s why I was at my mamas house to be honest cus”. Alex was upset that no one called him. No one bothered calling, they just came around. Then his phone rang and he silenced it.

“Yeah, that sucks. You can hang out here” as Alex offered consolation he hoped that Alivin would leave sooner than later so he could leave in peace.

The room they sat in was the hub of the house. A small yellow table made of plywood, another Ikea item, was the only surface. A large chunky TV with half of it spray painted white sat at the opposite wall from the couch. When the TV was turned on the white paint was partially transparent, allowing distortions of light from the set to get through. A bookcase filled and piled sat next to the TV. A Iggy Pop poster hung on the wall, one yellowed corner miserably hanging down, showing only POWER.

When Alex first moved there, met Alvin and the neighborhood people every time someone came in the room they would look around confused. The posters, the record player, the dentist chair it was bizarre for anywhere. Alvin had figured out an explanation quickly. “He English cus” saying English harder and slightly louder than the other words, he assumed this was the reason. “We maybe got pictures of our families on the walls, but they don’t do that”. So it was the fact that Alex was English that brushed of his dirty house, his tight pants, his white skin and his strange music.

Alvin passed Alex a brown swisher that had been split and then rerolled tightly. Alex inhaled, the flavor of the strawberry cigar coming through. The conversation was getting more heated. The faster Alvin talked, the harder it became for Alex to understand him. Alex was still a foreigner and still an outsider, no matter how long he lived there.

He sat and smoked hearing the conversation get louder and more aggressive. The phone was hung up repeatedly, then always re-answered until Alvin finally turned it off. “She mad because she says this is her phone.” Alvin explained, knowing that the conversation had not been understood. “It isn’t, it’s my phone, I bought it, she just use it.” Alex nodded. He had never met Alvin’s girl but the possessive aspect threw him off and it made him wary when she was slated to come. She lived in another neighborhood, a 10 minute drive from his house. In another neighborhood may as well be in another state. Alex never saw other neighborhoods, staying in the winding and sloping East Atlanta, the borders extending to I-20 in the North, Moreland in the West, and a fuzzy west and south boarder that ended near Candler park and Edgewood.

Then there was a knock at the door, sudden and surprising. There was a door to the left of the couch. It was the front door, rarely used. There was no particular reason it was rarely used, it just was. Someone knocking on that door is someone who has never been here before, thought Alex. Anyone who came to the house used the side door, it was closer to the car, more private and closer his neighbors on the bottom of the hill with whom he played music and drank wine. It was a system that functioned as an alarm – signifying a stranger was here.

Alex got up and looked through the dull gold spy hole. A woman was outside moving back and forward like a horse before a race. She was wearing form fitting black pants and her hair was up in a light pink handkerchief decorated with paisley. Handkerchiefs are only ever sold with paisley. A town in Scotland invented it, and from there it disseminated. The town of Paisley was a pretty unremarkable borders town these days, Alex thought as he understood that this was the voice on the other end of the phone. He sat back down.

“It’s for you, please go outside, I don’t want her in here.”

Alvin went out through the side door to loop, he worried about what this girl was going to say, and he worried about fighting. Alex thought about the previous night, when he had smoked cigarettes until dawn, and it made his throat hurt to remember. The black cat in the polaroid had come into the room and was now preparing to jump onto his lap. Alex stroked the cat behind the ears and under the chin. The cat had been another point of cultural exchange. A black cat was bad luck, and naming it Human Head seemed to be inviting trouble. Human Head, affectionately called Human for short, usually enjoyed being pet, and was fearless around people. Human would also randomly scratch and bite anyone at any time, wether they were petting him or not, so he could be bad luck. Most guests, unless they were the most frequent ones, stayed away from him.

The door slammed and was locked. Alvin whirled into the room, his white T-shirt flapping. He sat down and began to talk to Alex quickly and shakily. “She crazy, she thinks this is her phone, she know I paid for it, she don’t even pay the bills, you don’t even know cus, she brought her girlfriend with a car here, she outside screaming at me”. Outside the woman was shouting and banging on the door. Alex thought about work in 3 hours. “Can we not do this? She acting like a damn child, give her the phone or tell her to get lost, this is my house she can’t be doing this.”

Human Head purred in his lap and nibbled on his numb, occasionally biting, ignoring the sounds outside. Alvin left and came in a second time, apologizing for all the ‘bullshit’. The burglar bars were rattling at the side door. The woman shouted and pulled at the iron twists, flecks of black paint coming off in her hands. She would have to find another way in, fuming as she thought about Alvin and the argument they had last night. She kicked the bars one last time and went down into the garden. Alex was frustrated and no longer listening to Alvin, who was rolling another swisher to calm the situation. The woman found a pair of long handled shears with a rusted top that had been sitting in the red clay beneath a cleanly trimmed shrub that was fastidiously maintained every other Tuesday by Alvin’s mama. The shears were obviously a mistake, and probably had something to do with Alex as his neighbor would never have left them on the ground.

The woman, now armed, came again to the burglar bars. The metallic clanging was worse than the rattle. Human Head jumped up and raced to the back room. The sound stopped. Alex and Alvin looked at each other. Alvin had a cigar to his mouth, slowly licking the underside of the wrapping and folding it expertly in his hands into a perfect cylinder. The front door resonated with a thump. Unlike the back door the front had no bars, but it was stout wood 4 inches thick with 3 locks and a dull grey deadbolt the size of a pairing knife.

Alex had wondered why the house was so protected. The windows all had thick wrought iron bars that had been painted black once, but were now chipping. The bars curled up at points giving a spiral decoration and another surface protection. The woman banged harder against the only entrance not protected by a gate. Looking through the spy glass Alex recoiled as the force of her blow made the door shudder.

“Oi!”, he shouted, “Quit the fucking banging”. As Alvin, Alex’s voice became hard to understand for Americans when he spoke quickly, with passion. The unexpected sound of a cursing English accent made the woman stop. Alex opened the door and positioned himself in the opening, prepared to be pushed.

The woman backed down the doorsteps and onto the grey slab path that lead from the street. “Tell Alvin to get out here!” she shouted, shaking the tool.

“You’re acting like a goddamn child banging on my fucking door and causing a scene. You’re a grown woman what the hell is going on?” Alex relaxed, she was not going to attack him.

She threw the tool to the ground, “He got my phone, if he gives me the phone I’m gone, but you tell him” her voice grew louder “to give me the goddamn phone!”

“I’m not telling him nothing, it ain’t got shit to do with me, I have work, you’re here fucking me up, trying to break my door.”

Behind Alex Alvin was standing with the phone. Alex moved aside to let Alvin come up, he thought about work in 3 hours and when he got off he would get a cold beer and probably a shot of whisky. Alvin had the phone in his hand and, as he threw it into the street, he bellowed, “Here go your phone!” The phone landed a few feet in front of a maroon hatchback and exploded into its component parts. Alex swung the door closed and locked it.

The shouting outside continued. Alex could not understand what she was saying, and was thinking about when she would finally leave, when Alvin would leave and when all this would stop. Alvin had to tell him what she was saying, “She say’s she’s calling the police cus. She’ll do it too”. Alex recoiled from the news. People never called the cops in the neighborhood he thought, and said; “I’ve got warrants”.

They went to the bedroom and pulled the black curtains shut. Alvin took care of lowering the blinds and clicking them in place. Alex turned of the TV which powered down with a low buzz that went down in pitch like it was trying to suck in the last bit of light. The back door was checked, the burglar bars shut again. Alex turned all the lights off, cut the record player and went to the hallway, Alvin following. They closed all the doors to the hallway, anywhere with a window was closed off. The bedroom, bathroom and living room were now separated by 3 different doors.

Crouched in the semi darkness, idly moving the cigar around Alvin was on another phone talking in hushed tones to someone. Alex looked at this realizing that was her phone, he has his and he broke the one he gave her, Alex thought. He was breathing quickly.

He had warrants, they were only bench warrants from never going to traffic court or paying any of his numerous tickets. He was more worried about what manner of illegal things were in his house. For 2 years now, his house had become a spot for people in the neighborhood to come hang out, not that he minded that, but after he found a gun squeezed into the green feux leather seats of the couch while cleaning up after one of the larger parties, he had stopped letting unknown people in. Still he and a lot of his friends carried a lot of contraband on a regular basis.

This was Atlanta, GA where they would arrest anyone for possession of any kind of drug. There was no prescription for the morphine in the drawer of Alex’s desk, and he was thinking about this as he heard the crunching roll of a new car pulling up onto the gravely road. His roommate, though he was not always there had a predilection for cocaine and had a crack pipe hidden inside one of the amplifiers, and he was thinking about that as he heard the police talking to the woman. Their condescending and arrogant tone, that they so often use, made him angry, and then he thought about his friends last week – hadn’t they sold his roommate mushrooms, or LSD. He had taken little interest in it, but knew there was some kind of psychedelic somewhere in that room his roommate kept locked. I need a new roomate Alex thought. The other painkillers were out in plain sight because he was the only one who enjoyed them, they were just as illegal as anything squirreled away by his housemate. The woman was telling the police that Alvin, inside the dark house, had weed. He thought about that, about what Alvin kept on him. Nothing really, unlike some of his other friends Alvin was only schedule II, no felonies on his person. He could have a gun.

Alvin crouched and thought about what was in this house, and where he could hide his weed. He thought about what English people do around cops, he could sense Alex’s discomfort. He knew that a white englishman didn’t get harassed by the police, and didn’t know anything about the mechanics of avoiding arrest in the neighborhood. He could have a gun, he thought as he heard the girl talking to the police, demanding entry. He was worried Alex would open the door. He worried about the crazy roommate that his friends had sold crack to behind Alex’s back, violating the no selling crack rule that Alex imposed after crackheads came to the house, asking for rocks. He needed to calm down, and calm down the naïve, shaky man next to him.

Lost in his thoughts and straining to hear the police Alex was startled when the smell of cannabis filled the hallway. “What the fuck?” he whispered, “there are police right outside the..” his voice trailed of as a knock came at the door. He took the cigar and put it out.

The next minutes were tense, neither of them breathed as the knocking continued.

“They in there, they got weed, they are in there”. The sympathy Alex had had for the woman died away.

The officer now:

“Ma’am it looks like no one is home, we can’t go in there.”

There were ten minutes of silence that was 2 minutes long. The crunch of tires crushing stones marked their disappearance, followed 10 minutes later by another. We opened the doors and stretched. Sitting down on the couch, next to each other this time. Wordlessly the cigar was lit again, this time wet mango. He got up to look out the window and the thought about 2 hours until work, he thought about his bench warrant and the house full of hidden drugs. He thought about the police. “That can never happen again, I don’t want cops here. Ever.”

Alvin leaned forward and straightened up; “’cu’, This is my mama house nigga, you think I want cops here, shit. I’m with you.” Then he leaned back, passing the cigar. “my mama would’ve killed that girl if she was home, she don’t play, and she would have killed me.” He knew he had to brush off the fact that the event scared him, but he had hidden in a house before, he was more worried about if his mama had heard.

Alvin’s mother was formidable. Mrs Jones, or Miss Jones if you knew her well enough. Ma’am to everyone else. There could be 5 or 6 big young men standing in the shared yard, boasting about what they do, telling stories about cars stolen, asses whupped, sexual conquests, but if they were being too loud while they did it she would come out and silence the entire group with a word. Alex was fine with being less feared than M. Jones.

Entropy In Art.

Artistic Energy, Loss and Empowerment.

Shoutout to Buckminster Fuller.


Each work is created in a time answerable only to the artist

they exist relatively to the other works of the age, school, or style.

Immediate art has just been made and there is doubt of its existence

a non-validated image is an irrelevant image.

The first showing for a work is the piece at its weakest;

there is nothing in a caterpillar that suggests it will become a butterfly.

Art must be a fundamentally observable phenomenon.

Untactionable art means nothing.

As a work is viewed it gains energy.

Reaching a vertex is inevitable.

When the work has influenced other artists or

rooted a school,

when the work has gained a sanctioned fame; hanging on the austere wall of a national gallery

the entropic loss of relevance has made the work sterile

an example of a time, removed from it’s context.

If DuChamp taught us anything it is that art is art only because of context.

Placing art in easy scholarly categories allows an automatic critique,

a line is drawn between painters who never saw each others work

a line is missed when things move ahead.

Evolutionarily, art moves in jerks.

Fast and unpredictable.

Long periods of ossified ideas,

and then an injection of unfamiliar into the art-sphere

changes the environment and provokes evolution.

We speak of artists from years ago with cold detachment

then another vertex is reached.

The work is old enough to be completely detached from any modern sensibility

a bygone example of what things looked like, with no context

and the emotional resonance is different

but happens just the same.

A parabola is part of a sine wave.

A short guide on how to imbibe.

A good sommelier is like a good chef, the truly great ones know when to be simple. Dazzling the table with a complex and obscure bottle and talking shop with the wine steward about what side of the hill got more sun in ’04 is all well and good, but for the uninitiated the world of food and beverage pairings is murky and confusing.

To achieve success you must first learn how to drink properly with food:

Take an anchovy, preferably one that has not been curing too long. Place the oily fillet onto a toasted crustini of white bread. Have a wine glass generously full of simple Montepulciano table wine. Take a sip, taste the acidity and the bite; thats the age. Taste the dark juicy notes and feel it staining your teeth, that is depth. Now, before the taste leaves your mouth eat the anchovy. Then take a generous slug of wine to wash down the salt and oil. Continue as needed. The acidity needed something oily and the fruity juice wanted salt to help it come alive. This is paring. For dark, earthy foods chose a lighter, sharper wine. The two should compliment one another, never contend for affection, and the wine should run out only when the food does.

I realize I’ve not been including music. Listen to this while eating anchovies.

CURSED REALMS OF THE WINTERDEMONS

A short story based on a Sunn O))) song. Or an Immortal song.

Cursed Realms of the WinterDemons.

     The snow crunched, wind piling layers up on the side of the jagged wall. The sky was deep purple as the sun hovered in a perpetual dusk. There was only wind, and ice and frost.

    Hailstones broke apart as they hit the back of the beast. Slivers of ice fell to the ground and immediately froze in place.

    Every part of the animals body ended in a cruel spike, each tipped with a layer of permafrost. It lifted its neck and opened its jaws, the fangs of ice glinted in the faint light and it screamed.

    The horns on it’s head shook as the scream grew louder. A cracking of vocal chords in a high pitched splintering of ice grinding against ice.

     Reaching out a long, thin arm the Winterdemon dug it’s claws into the ground and began pulling itself through the piling ice and snow. Hail and sleet filled its mouth, the beast spluttered. It’s howl became a muffled choke. Then moving forward into the blackness, screaming, it vanished.

     From across the wastes a growl, low and all pervading, vibrates the ground, cracking the layers of frost and felling the long dead trees. It’s jaws long since frozen shut, a second demon takes a claw and carves a hole into it’s black neck, stringed with sinew and sores. The hole quivers, rumbles and vomits deep black bile onto the earth and the drone grew louder.

      Guided by their noise the beasts glacially move towards one another. Eventually meeting they dig their claws into black flesh, spilling purple and yellow blood that freezes in fractal stalactites off their bodies.

    Jagged ice fangs snap in the oozing hole, screams and growls becoming one.

       Copulating in desolate wasteland the demons shake the entire realm, creating howls, screams and cries that fill the blizzard air.

      Exploding from the face and killing both demons, turning them to frozen statues, covered in petrified gore, the child rises. Twice the height of it’s parents. Turning it’s bony eye to the sky it howls, sharp, brief, twice. A mountain of black ice rises beneath the child and it reaches out to end the dusk. There is no sun.

       There is no light. There is only cold and a black wind full of sharp hail that cuts and freezes.

Event Art. In Defense of Toiling in Obscurity for No Tangible Result.

In Defense of Toiling in Obscurity for No Tangible Result.

Published in MuseeMagazine

If a tree falls in a forest and no one is there, does it make a sound? If an artist stages a performance event and does not photograph it, does it matter? If a photograph captures part of the event, is that photograph a documentary work or an original work? What is more important; that the event happened or that it was photographed?

Clearly the nebulous world of elaborate performance art / public art / public spectacle is a difficult one to navigate; there are only questions.

Only the performance, the happening, the event matters. Everything before the event is foreplay, and everything after it is the cigarette.

The band “Hanatarashi” played a show once. On stage the band members tuned their instruments and did a full sound check where they made minute adjustments to the monitors and volume control. They then left the stage and drove a bulldozer through the wall of the club.

No one documented this. What is important is that it happened. The photographs of the aftermath exist, but the event was not a set up to be photographed. Creating events simply for the purpose of taking one or two pictures is photography. But when there is a constructed lead up, public interaction or a backstory, then the photograph fails to capture the essential spirit of the moment and is ultimately disposable, simply a keepsake.

Spanish photographer Andrea Galvani spent years developing a flashlight that could penetrate the earth’s atmosphere and shoot into space without being dispersed. He became an expert in the effects of every layer of the atmosphere, and by the end of it he could have written a paper on the development of high energy flashlights. Of course this had already been done with the advent of laser technology, but Galvini started from scratch. Not content with simply building his light and turning it on, he went to the North Pole and shot the burst, which only lasted a few minutes, from a dingy surrounded by ice, where the Earth’s magnetic field and therefore the Aurora Borealis is at its strongest. Physics attempts to explain the universe through equations, proofs and experiments of which the laser is a tangible result. Art has the same brief, simply approaching the questions from different angles. It’s the journey, not the destination.

 

A conversation on war photography inspired by Ron Haviv’s Testimony exhibition.

Anastasia Photo opened Ron Haviv’s work “Testimony” on November 1st and will run the exhibit through to January 31st.

The exhibition was terrible; the images that have been burned into our collective conscience are remembered and haunt us. Blood and fire. Haviv has been traveling the world documenting humanity at it’s most base and it’s most triumphant. “Testimony” depicts three genocides, two revolutions, an imperialist takeover and a war in a 700 sqft gallery. The whole exhibit is a punch in the gut.

This is Haviv’s first retrospective, and it showcases his superb eye and abilities. The prints are all objectively and compositionally beautiful. Beyond the obvious subject matter; Haviv’s strength is in his colors, if the viewer could set aside their humanity the exhibition is a lesson on chromatic expression.

It’s best to focus first on the easiest to digest prints, “Burkas (2001)” simply shows colorful Burkas out to dry, while “Girl In Blue (2007)” is just that – a myriad of blues. The Libyan revolution is shown in all it’s romantic glory. Rebels victoriously stand upon the golden excesses of their despotic leaders, rifles in the air.

The pictures of war share characteristics. Soldiers smoke while they wait. If there are guns they are either raised in a pose of victory or cradled simply. All the scenes of conflict are impossible to remove from their time. Arkan pompously held a tiger cub up to the camera in 1991. His troops hid behind balaclavas. Later they had no need for masks. In 1992 two look on as a third kicks a downed civilian – entitled “Ethnic Cleansing.”

The Lybian photographs stood out to me particularly, as I was connected with people on Twitter who were constantly sending pictures of success or death. When the rebels finally took Gaddafi’s compound they sent a picture. They were posed underneath a statue crushing a U.S fighter. Their weapons were raised and their mouths were open in a scream of exaltation, the killing and dying temporarily forgotten. The image’s power shone through the cracked screen of my phone.

This illustrates an argument that has been going on for a while now. Is war photography on the way out? The advent of twitter et al. has brought on an immediacy of pictures and video that bring us into the war. It is vital that we know what is happening as it is happening. Is there a need for large cameras and bulky backpacks full of equipment when the soldiers carry smart phones? Snapping pictures of dead enemies. Snapping pictures of living friends.

There should be no need for war photographers when basically anyone can show in a moment everything that needs to be said in 140 characters.

Haviv currently exhibits as fine art. Those wars are over. The images lose none of their power. The dust stuck on the sweat and blood. The couple kiss surrounded by desolation – “Kiss of Victory (1991).” The audience is forced to remember, yet this audience also looks on from the artistic perspective and approves. Haviv has proven the detractors wrong.

Review by John Hutt

Photographs by Tanya Kiseleva

 

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Railing against capitalism with Issac Julien – Playtime.

Metro pictures is showing a film consisting of 3 chapters entitled Playtime. The show will run through the 14th of December.

The gallery consists of still photographs from the film and a large screen in the back showing the work itself. Playtime shows three different stories about the same subject – capitol. Starting in London, then Reykjavík, then Dubai. Each of these cities have been transformed by the new nature of what we call capitalism in the 21st century. The idea of the piece was to start a conversation, so the opinions that I came away from the film with are reflected below. It is impossible to do a non passionate review of the subjects tackled in the work.

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In Dubai we see a maid. She is cleaning in a stark, black apartment for a mistress who is not home. She is a virtual slave, making only enough money to send back to her children in the Philippines. This, as all of the chapters are, is true. Through a series of landscapes we see Dubai, a huge circle of shining skyscrapers in the middle of the desert. Dubai is an example of a city made for the rich. No road leads out, and the poor have no paved roads at all. This chapter focuses on the desperation of the maid, a chattel to clean.

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Shelly tells a story of a man who, walking in the desert, comes across a ruined statue. A gigantic foot sits broken and worn on a pedestal. The inscription reads: “I am Ozymandias king of kings, look upon my works ye mighty and tremble”. The ruling class of Dubai would do well to mark that. The Burj Khalifa rises out of the city shining light on all those too poor to enter it’s doors.

Dubai is a testament to man’s hubris and should be burned to the ground. Let the desert swallow those who flaunt their ill gotten gains, as it has been done so many times before.

The next chapter, Reykjavik, is silent. A man framed in different situations, looking out at the sky, the steam and the frozen peaks. There is a bleakness of winter, a blue shade. This chapter is the most cleanly presented. The lines are straight, the shadows are angular. Iceland was the city where the financial collapse first happened, and this film presents it as a battleground where a war has long been over. In contrast to Dubai, the government of Iceland is answerable to the people. Iceland, faced with austerity and cuts  in order to pay back their debt, held a referendum and decided not to pay. After being in the awful D rating for default, it has moved back up. Iceland is now prospering while Greece and Spain burn in austerity. It is appropriate that this film is silent – simply now an observer.

Iceland is a testament to a sensible government and should be copied the world over.

London is the next chapter and James Franco walks us through an room of art work.  He explains that art is now being looked at as an investment, something else to buy and trade. London’s banks have been deregulated and the capitalist’s values are arbitrary. One painting, Franco says, was bought for 2 million dollars then sold for 30 million dollars 2 years later. Pleasure is the reason people do anything, so that is why the rich buy art. Pleasure from the status it gives them, pleasure from the aesthetics, pleasure from the history of the work, pleasure from the exclusivity, pleasure from extravagant spending. Franco assures us all that these are valid reasons to spend money.

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Art is not a commodity to be bought and sold like shiny rocks, art is not an arbitrary number on a computer screen that we call currency. There is no way to realistically calculate the value of art. Art, uniquely, has no inherent value; that is part of what makes it art – all art is quite useless. The bankers in London hungrily eye the next thing they can put value into and hoard in massive quantities away from the prying eyes of the rest of us.

London’s wealth is an illusion created by intangible assets with erratic and offhand values.

The film asks unanswerable questions that require an essay into themselves, for our purposes today it was a success.

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Text by John Hutt

Photographs by Tanya Kiseleva