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Your messy kid could win you a washing machine.
Irresistible
Article on Co-parenting
Your messy kid could win you a washing machine.
Irresistible
MARKET / SUPERMARKET 2013
In general -
I just feel a deep desire for contextualized work now. Two artfairs and one ultralarge and messy gallery show (Liljevalchs Spring Salon 2013) and the forcefulness of quantity over depth (in many cases there is no lack of quality, just time- space for processing), is exhausting. I guess it has to do with the lingering fear of "missing something important", so I look and look but to be honest, I don't see much.
This is no way to experience art.
Thus - what have I seen? That I liked?
I think I will divide this in categories rather than mixing in at all up in this post (since doing so would just repeat the attitude of conceptual flatness):
Black and white/ stuff that relates to my work (I never said the categories would be objective)
http://readings-notes-ideas.blogspot.se/2013/03/marketsupermarket-black-and-white-stuff.html
Images of empty spaces/ Institutions
http://readings-notes-ideas.blogspot.se/2013/03/marketsupermarket-empty-spaces-and.html
Chaos/ Irony/ Kitsch/ Over-the-top/ Ecstasy
"Minimal Pop"
http://readings-notes-ideas.blogspot.se/2013/03/marketsupermarket-minimal-pop.html
See these as separate posts via the linx ;-)
(coming soon ------>)
I just feel a deep desire for contextualized work now. Two artfairs and one ultralarge and messy gallery show (Liljevalchs Spring Salon 2013) and the forcefulness of quantity over depth (in many cases there is no lack of quality, just time- space for processing), is exhausting. I guess it has to do with the lingering fear of "missing something important", so I look and look but to be honest, I don't see much.
This is no way to experience art.
Thus - what have I seen? That I liked?
I think I will divide this in categories rather than mixing in at all up in this post (since doing so would just repeat the attitude of conceptual flatness):
Black and white/ stuff that relates to my work (I never said the categories would be objective)
http://readings-notes-ideas.blogspot.se/2013/03/marketsupermarket-black-and-white-stuff.html
Images of empty spaces/ Institutions
http://readings-notes-ideas.blogspot.se/2013/03/marketsupermarket-empty-spaces-and.html
Chaos/ Irony/ Kitsch/ Over-the-top/ Ecstasy
"Minimal Pop"
http://readings-notes-ideas.blogspot.se/2013/03/marketsupermarket-minimal-pop.html
See these as separate posts via the linx ;-)
(coming soon ------>)
Mika Rottenberg at Magasin 3 Stockholm
Awesome! :-)
Scribbles from the cafeteria in the art gallery:
Nailclippings, breastmilk, milking the earth, body secretions sweat, packaged and sold, shipped over the world, women working, women masturbating women handjob on arms through holes in the ground fertilizationprocess, anonymity, repetition, teams, sweatshop, butts, tongues, a tounge sticking out of a wall a really fat black woman a really fat brown woman the obscene dough coming through the ceiling, managing the dough, handling, managing the body, shaping the body, condensing the body, creating derivates of body and labor for massconsumption, the butch woman truckdriver
Scribbles on phone late at night:
There is sisterhood, and yet, the numb and monotone process of making consumerproducts that range from complete meaninglessness to a sort of humoristic rebellion (see Tropical Breeze). In this there is recognition both of the fact that women make up the majority and bottomlayer of the labor force of the current economic system and of the need for cooperation and caretaking amongst these women. Actually even the bodies in space, the working body and the female body as a natural resource to be exploited, a hyperpresence in the working and worked body, as the [mother] earth is milked and the nails are clipped and processed....
These works are about the woman in contemporary society, for once not focused on the woman in the wealthy societies, and yet without the pitying glare that is so common (look at those poor people [read: complete 'other'] and their poor lives....)
The woman as a body, as a body - worker extracting her own fluids - hair or nails - using hair and nails to process the resource into products. Love
I met with an art critic the other day - she used to be my teacher once, and I was surprised and happy to see her again. As it happens she had given a review on the show just a couple of days after I saw it (I tried to find it on her website to link but it seems its not on there...) and, if I understand her correctly, she found it uninspiring/ frustrating (not-like) the hermetic nature of Rottenbergs works. The truth is that these works are extremely hermetic in the sense that "they don't go anywhere", whatever it is it just goes on and on, and the women seem (except in the odd case of the driver in Tropical Breeze) resigned to this destiny of eternal mechanical repetition. I realise that I like that aspect. There is no way out - its like scratching a scab of a wound. The wound being the conflict concerning the possiblity and own capacity to change, the scab being the hope?
Stockholm
13-02-19
My studio is the best place in the world I am so lucky to have this
Scribbles from the cafeteria in the art gallery:
Nailclippings, breastmilk, milking the earth, body secretions sweat, packaged and sold, shipped over the world, women working, women masturbating women handjob on arms through holes in the ground fertilizationprocess, anonymity, repetition, teams, sweatshop, butts, tongues, a tounge sticking out of a wall a really fat black woman a really fat brown woman the obscene dough coming through the ceiling, managing the dough, handling, managing the body, shaping the body, condensing the body, creating derivates of body and labor for massconsumption, the butch woman truckdriver
Scribbles on phone late at night:
There is sisterhood, and yet, the numb and monotone process of making consumerproducts that range from complete meaninglessness to a sort of humoristic rebellion (see Tropical Breeze). In this there is recognition both of the fact that women make up the majority and bottomlayer of the labor force of the current economic system and of the need for cooperation and caretaking amongst these women. Actually even the bodies in space, the working body and the female body as a natural resource to be exploited, a hyperpresence in the working and worked body, as the [mother] earth is milked and the nails are clipped and processed....
These works are about the woman in contemporary society, for once not focused on the woman in the wealthy societies, and yet without the pitying glare that is so common (look at those poor people [read: complete 'other'] and their poor lives....)
The woman as a body, as a body - worker extracting her own fluids - hair or nails - using hair and nails to process the resource into products. Love
I met with an art critic the other day - she used to be my teacher once, and I was surprised and happy to see her again. As it happens she had given a review on the show just a couple of days after I saw it (I tried to find it on her website to link but it seems its not on there...) and, if I understand her correctly, she found it uninspiring/ frustrating (not-like) the hermetic nature of Rottenbergs works. The truth is that these works are extremely hermetic in the sense that "they don't go anywhere", whatever it is it just goes on and on, and the women seem (except in the odd case of the driver in Tropical Breeze) resigned to this destiny of eternal mechanical repetition. I realise that I like that aspect. There is no way out - its like scratching a scab of a wound. The wound being the conflict concerning the possiblity and own capacity to change, the scab being the hope?
Stockholm
13-02-19
My studio is the best place in the world I am so lucky to have this
INGVILD HOVLAND KALDAL
Walked past a show on Gallery Steinsland Berliner and in the middle of a bunch of stuff that didn't blow my mind I saw the monkey pictures. Yes yes, artist to be remembered.
Her website: http://www.ingvildkaldal.com/
THE PICTURE IS A SCREENSHOT FROM HER WEBSITE!
Her website: http://www.ingvildkaldal.com/
THE PICTURE IS A SCREENSHOT FROM HER WEBSITE!
ART ACTIVISM!!!! ! ! !
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A note to remember on the art-activism
article by Sinziana Ravini in DN on the 26th of January 2013.
1) Good article, read it. I would link to it here but haven't been able to find it either in SWE or ENG.
2) The contenta being that the curators of the Berlin Biennale 2012 and Documenta 13 by Carolyn Christov-Bakargiev were least to say inspired by an activist aesthetic/ (strategy?) in the forming of the two events. Ranging from inviting Occupy Wallstreet to occupy the Biennale space (you don't occupy something if you are invited to stay there...) (Berlin Biennale) to social gatherings where the visitors to the biennale could meet and eat couscous with refugees from Sahara and political slogans such as "This is not your museum, this is your action space"..
> Ravini writes [my translation; see original Swe text below] The problem as I see it is that the political art looses its power when comissioned by big organizations like Documenta, as well as biennales and institutions that seek intellectual cred (1). She also writes Personally I got a kick out of it since it was enough to talk to the activists, artists and curators to discover the seriousness and political will behind it all (2).
But then, doesn't this lead back to the same problem as always = there is no bad guy. I personally believe very few people (if any) are innately evil - and we instead have to fight against is the potential disasters caused by our well-meaning desires to do good mixed with general comfortabillity and selfishness. I don't think anyone at either the Berlin Biennale or Documenta would ever say "Yes, actually I don't care much for these issues but right now Occupy Wallstreet is really "in" and I also want some intellectual cred".... I'm quite sure they don't event think like that when they're alone in their villain's lair....
But still. There is nothing new about these forms of activism, so what is the mechanism that
suddenly makes this art? (Is it made art?). What does the artworld get out of it? Is it the
artists, driven by social-political consciousness to "do good" that
decides to renounce art making for activism > but then, why call it art? Why place it in an art context that swallows it up without hesitation? Doesn't
that somehow make it an aesthetic issue?
It seems as if the
ideology and the activism itself becomes the new aesthetic mediums. Is this
really political then? Or new? I would say no since these types of activities
are already established practises and the only thing new about it is that they
take place in a contemporary art environment (that effectively counteracts the
political by "aesthetizising" the events). But is it art then? Yes, but only if
we accept it as purely aestethic events, and its actors as mainly interested in
the aestethics of social relations and politics.
Ideologies and social relations used as (and as interchangeable as) different colours of paint or different expressions of form. The cultural event being the canvas upon which the image is painted, equally other to political struggle and reality as the white cube and the frame. But mindblowing by its sheer nerve and irony.
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(1)"Problemet som jag ser det är att den politiska konsten förlorar sin kraft när den betälls av stora organisationer som Documenta, liksom biennaler och institutioner som söker intellektuell kredd"
(2)"Själv fick jag en kick av det, för det räckte att börja prata med aktivisterna, konstnärerna och curatorerna för att upptäcka allvaret och den politiska viljan bakom det hela."
Sinziana Ravini "Radikala konstaktivister på frammarsch"
Note: In the article Ravini also writes about a series of more successful examples of political art/activism like the Yes Men, Pussy Riot, Kultivator, etc. She writes: No, the true art activism functions like a thief in the night, it gets in where it is not welcome and succeeds both in destabilizing and change the order of things where it ends up.(3)
(3)"Nej, den sanna konstaktivismen fungerar som en tjuv om natten, den tar sig in där den inte är välkomnas och den lyckas både destabilisera och förändra ordningen den hamnar i".
Stockholm
13-02-02
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