Galería Helga de Alvear: 01/20/1911 to 03/05/1911
That the shock that promotes the aesthetics of the show comes to immediately fill the entire field of aesthetic experiments does not mean, far from obvious that took place between us as a bargaining chip with which to generate capital gains in transbanal and what archi-appellant of the phantasmagoria of the spectacle.
is true that the impact generated by the staging of the aesthetic is to run out immediately as mellifluous as inconsequential and chiripitiflaútico of groovy. But it is nonetheless true that, at least one critical solvent, beating about the foot should lead not to fall into the temptation of denostación expensive to bring everything behind a whiff of spectacle.
For, putting on our site, it's a little embarrassing that after a state-of-the-question (referred it to the realm of art) singing the truths of the insubstantial and the most theatrical show artistic strategies, is unwilling and unable to dictate almost unfavorable ruling against many artists, so to speak, and without any bad faith "mean profile and however, the pulse will not tremble when the priests publicly insult the business we bring in hand.
Maybe there's much to put in brackets, that thing is not so well but, rather, is very different, but sometimes catatonic tired conceit that congratulations are shipped between 'those who do not bother' while is called the intifada sadomasochistic against those who, all foreigners are obviously well caught on the horns of artistic power.
Although, on reflection, not even that: the critical fratricidal negative bravely singing the truths of childish, has been subverted by a critique of the commonplace and the Do not Disturb elects to be generalized profile before opening the wound to bleed out of our dead as quickly as possible.
I say all this to the thread of an exhibition of Elmgreen & Dragset at Helga de Alvear , which made me think more of the account. Erected in demigods of operatic art and what macroambicioso, kings of the installation as a new entertainment with public funds, what marketiniano that every good career should rest as often as necessary, have never been worthy of much attention on my part. I say what I feel. These sinsorgadas of 'criticism of the white cube' gestures have always seemed to the gallery, grooming and ultra-minimalism, sings the congratulations of a Prada store the most retro-cool.
However, after the first visit epatanante, the profusion of recessions in newspapers and superficial criticisms that have dedicated space and I suppose this time-a couple of Danes have made me the truth arises an art that seems to walk through the amazing blindness that occurs in the average spectator and his rise paralysis that occurs in others.
If all the truth that is the stage the drowning of a collector in the last Venice Biennale is to be one permitted by the establishment Graciet some bad kids, or if he hides behind himself more than even a criticism of this establishment mema it possible, is something that I think some credit urge to diagnose, since even in the upstairs room of the gallery "presents" Angela de la Cruz , artist is from a speech solvent and strong than most.
Turning now to the field, this time it is the turn a sauna, a sauna seems to be that gay. One enters the gallery, and suddenly is inundated by an aseptic hospital hygiene appears to be the perfect reply, as we say, a sauna.
The scenery, the props of cardboard obvious: the estrangement, that exudes such as safe staging shows that no subterfuge, of bitterness against an art that is content to build scenarios for contemplation anesthetic I hiperbanal and fair attraction. In short: we are not there to see the price of a mimesis that laughable, but to reveal some secret.
If Debord said that "separation is the alpha and omega of the spectacle" thing, it's Elmgreen & Dragset, at least at this facility, it has nothing to do with the show then. And we are stuck, attached to an experience that will be resolved as ours in this same scenario. Do not know which is confounded by us see what the pamphlets sold for an art that is the quintessence of what "no-you-see-but-not-know-why ', that our senses are seen in the atrophied panacea refer mainly to the effects of simulation and role play are positions that will emphasize the dramatic trifle with these artists are portrayed. But, as I think I guess I leave, not what you think.
And, where lies the wisdom of his works is not to be satisfied with being a masturbatory art of contemplation of the spectacle of the macro-staged, but placed in the only opening that allows entry into scene as yours: that appeals to the spectator to fill in some loose, some enigma.
Whatever happens, we think, is that Elmgreen & Dragset are here able to operate with several layers of meaning and, of course, interpretation. The most attention, obviously, is that so decisively to monopolize for themselves all outbreaks of the highly acclaimed gay aesthetic. If art acts as a catalyst for all drives attracting them to each other and fusing them in the hyper-marketable, a gay sauna is the quintessential postmodern farce: joy and pleasure everywhere, aestheticism of high-class, world relations in a steaming liquid.
But where are the target is to propose a reading level far deeper. Leaving for another time their little or no conclusive studies on the white cube, this time it does pose a narrative of contemporary art mechanisms which strongly echoes can be heard throughout the room. Because the sauna should not be content with being a simulation effect, a festive song to an aesthetic of gay, promiscuous and feast of the senses, but stands as the site where the drill operating spent all this system called 'art'.
If Rancière in his advocacy of emancipated spectator, said that "knowledge is not knowledge but a set of position", wandering through the sauna, you understand, thanks to some details left as loose, something has to be divulged, something has to know: our position, our wandering encounter has fascinated the indecipherable or opera, one of two, but it is another.
What do Elmgreen & Dragset is to provide a sliding compartments in which art history is understood to, in the collision of tectonic plates, apply a paradox, a performance-this time it-as tragi-comedy in which they develop the generation of our symbolic worlds. So what happens, presumably, in the sauna is not only the staging of the aseptic-postmodern, nor is it a stubborn criticism of anything.
aesthetic effectiveness of what they propose is based, taking here also the words of Rancière, "in the effectiveness of the separation itself, the gap between the sensible forms of artistic production and sensitive ways through which this production is suitable for viewers, readers or listeners. " Past the end of the sauna, the sculpture of a Greek god, a perfect muscles, rest sitting and desperate face while receiving a blood transfusion. At the same time, a pair of jeans behind a screen, giant flip-flops with smaller ones at the top of the sauna, attest to that ... there's someone else.
aesthetic effectiveness of this work rests on both the suspension of a narrative that operates throughout the history of art. If Winckelman took the Belvedere Torso as an exemplification of the art would have been Greek, thus operating a dissent that referred to two distant structures, Greek and Enlightenment, to which no possible continuum between cause and effect, Elmgreen & Dragset superbly herein updated key to the aesthetic efficacy sustained in the dissent that works against the plausibility of creating a continuum.
Winckelman If the torso was the perfect exemplification of its lack of sentimentality, a theft that referred to the silence that mediates between two different structures of meaning These artists now stand as the new torseidad transfusion needed: no longer shows any faith, produces no correction, no appeal to any ethical norms, not aimed at any age, non-ultimately-meaningless.
Taking another point of departure, for the torseidad Benjamin was pre-eminent characteristic of modern art, it is encrypted in the destructive, contingent, expressionless and fragmentary, and the allegory being the expressive form of this, now Elmgreen & Dragset for the torseidad takes the form of fiction, fable simulacionsita, and staged more than shown.
Therefore, the fictional work of Elmgreen & Dragset , his staging of scenery to be for many the epitome of banal spectacle of archiestético, is to create the network of relationships necessary to implement relationship that it was not for, well, produce different breaks than expected in the sensitive tissue of the perceptions and feelings. Her fiction works dissent but, instead of later overturn a political activity, leave it there, camouflaged simulation confused with the postmodern landscape of nothingness, it being a valid interpretation made by displaying a short-sighted overwhelming and sing, without more, the congratulations of the gay, cheerful and fun than to confuse any gallery with any sauna built for pleasure.
Ultimately, can not you then think that that that's out there loose, the solution to the puzzle, the owner of these sandals and these pants, you can not think, "I say that we ourselves, who enjoy the banal fiction and we resist, therefore, to propose best actors and chose to undertake the flight? The opening day, actors pretending to be customers of the sauna, leaving the audience unable confused with fiction woven. Perhaps is this the last lesson of Elmgreen & Dragset : we delight both fiction simulation that we are unable to propose an alternative and thus take action.
prefer the festive and carnivalesque, the chameleon-numbing and a good staging, to take the part that touches us and knowing we are criminals in the crime scene. Hence the need for transfusions new torso and hence also that Elmgreen & Dragset being so shallow be celebrated as true artists of our time.
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