Masterbate Curling Iron

PLAY THREE BANDS: CARAMBOLA WINNING THEORY

'THREE BANDS PLAY A'

SEVERAL GALLERIES: 04/02/1911 to 04/30/1911

not be confused when we say that an event like this, besides being absolutely necessary, was seen coming from afar. I do not mean and the fact that it is an idea imported from other cities, but because in recent years has shown a need for their own galleries in Madrid to rethink the narrative situation in some guidelines.

I am not referring to the commercial dynamic, imagine that each knows what to do, but the device itself 'exposure' as pre-eminent place, and almost single-visibility for the art. In this regard, and there we delve into our particular loa to 'believe no be confused ', if you made a little look back, just one year-not surprising, albeit pleasantly, that two of the best exhibitions that could be seen in Madrid last year were two separate periods of commissariat. I mean no doubt the exposure Huis Clos the Galería Elba Benítez -curated in this case by Magali Arriola - because The pipe and the flow in Minimum Space -this curated by Omar Lopez-Chahoud. Even now I remember more clearly, Cruise 4 and Pilar Parra & Romero also conducted exercises commissioner not insignificant.

Anyway, what I do is clear is that nothing happens because. That art has need of other exposures, that we should join forces, to conceptualize before showing, is a mirror image that gives us the mirror of the normalization and the spectacle that seems to have run aground every discourse on art.

But then, of course, are always perverse effects: the more seems to have cleared the 'depth' with which art operates, it, in its actual destination, making any operator-in this case the reviled and condemned to silence media 'gallery arte'-and puts them back into orbit to take a breath thing more dialectical.

do not believe that this is the most appropriate place to go to discuss the structural features of art or aesthetics, but if the duality of self / praxis is vital has finally revealed as illusory and deeply ideological, while unable to solve any problem, it is now that "forgetting desartización effects, but also laughing heartily at the marketing advertising in which he falls, the art has to opt for a change of registration, a twist that closes towards at Rancière say, a dissent in practices equipped with visibility.

And I think that this is what is at stake but, and this is surprising, not because we try hard, be committed, "not because the gallery has been, as it were, tied up the males and have given the whole by all with a play - this really would be three bands! - to get out of the crisis momentarily and take some visibility provided. But, as we say, is what is at stake because art is just that: breaking, rip, decenter, distributing and dealing. The game of visibility and display is critical here and is the art aupado as lavish as tourism and musealization Cultureta as necessities to capture when dividends are small gestures like the one in question made from within art which have to run without fear - it is impossible to fail! - not as a rejoinder to immovable art system, but as a sincere and radical exercise against the current regime of the given.

say that I was not so bad, that it is not so well, it is an event in a few galleries, and not the most celebrated-in a city that hardly supports the pull of globalization illusory, even though he continues t iven his four or five hubs there being nothing more than the glacial wasteland outside. But just for that: just his candor, for impotence that encryption will be all over again once they have spent a few days, by, in a word, and despite its great success, destination of failure is what events may well be fundamentally important meanings within the current system of merchandising and display.

And, and I will say that a stroll through the city, he takes his time-even, and at least in my case, steal it from somewhere else, "to endeavor to look at and understand in face display modes and different production artists with low visibility, are artistic experiences that even the regular visitor to galleries are often missed. That is, not that events like this have come to supplant the biennial schizoid neurosis or catatonia arhythmic the average tourist that comes after facing an exhibition of art in their summer tour, it's not even that figure the commissioner must descend from the pulpit in which sometimes seems to be high, it is not, finally, that You pour exposures to inflate ticket sales data have to be removed from the museum's exhibition plans or that the 'collective shows' art galleries are to be swept the map.

But we do need at least make it clear that another way of doing things is also possible that there may be a positive synergy between artist, gallery and curator, and that the public can come to see the exhibition engaging freely in the desired range and extent, without heeding the meapilas fronted the newscast, or standardized guidelines that sentence 'the must-see 'and' who to see '

Non

neither exhaustive nor want to make a sharp critique of the seen-think the need of the event itself is what must be stressed, "if I'm going to highlight some that generally works until the end of April may be in different participating galleries.

In Aranapoveda was the installation constructed to using slides collected in New Orleans after the disaster Will Steacy; in Blanca Soto, Gaston Persico polyhedral and portraits in notes and notes left on the floor; l a springboard solitude of Julia Fullerton-Batten in Camara Oscura; the disturbance which is always the simplicity of Claire Harvey Nicholas Paris and installation in Maisterravalbuena ; in Raquel Ponce machinic sculpture of Luc Mattenberger ; hieratic pictures Veronika Márquez and autobiography extreme Jana Leo in Rita Castellote, in Traverse 4 l a strange and powerful nature, ghostly and artificial of Carlos Irijalba.

In short, a proposal needed brilliant in its approach and its implementation, which will hopefully have a long history in landscape, the artistic Madrid, who appear to be more motivated than average and more proposals than money. Hopefully, the game for sure, that this carambola link with others.

Mum Boobes Without Bra

KRITOFFER Arden: WHO IS JOSE RIZAL? OLIVE GALLERY
Araunah from 03/24/1911

postconceptual In the era in which we move, the triumph of antiretiniano Duchamp can Total cataloged. Concealment strategies, ways that they swindle, which a priori decentralize the art and visual quality have been established as general pathos with which to run as last year of resistance to the stranded hipernormalización that, sooner or later, all year subversion.

The thing is long and, although we have already risen to the long shadow totem Duchamp, the sign poststructuralist theories have continued to emphasize the priority exerted from the visual-this time as an image- text. Deleuze himself says that "the limit of language is the thing his silence, the vision. " Thus, in an interlocking schizoanalytical with the production of signs, it is concluded that the activity of reading-vision and desire that will satisfy the production of signs at stake. That is, if the desire takes shape in language, limit it reaches its radical solution in the silence that is the vision, then assuming that the production of visual signs have no other reason but to satisfy the demand to be imposed by desire.

And, at the heart of this whole thing is always the same: an art than a bullet fired with the foundation on which rise the conglomerate called 'Reality'. In this sense, and appealing here Rancière, "The reality is nothing more than a certain question, a particular form of display of what is postulated as a vision, a certain way of tying the speakable, the feasible and visible. "

As parmideana expanding the very famous formula that be is to be in the language, the power-as a way of articulating a scheme which provides what can be taken as "masterfully combines dado', it is possible to say possible to think and can see, in short, connecting again with Deleuze, What you may want. So, again with Rancière, "the representation is not the act of producing a visible form, is the act of giving an equivalent" can refer to that one from any of these three fronts.

Kristoffer Ardena done in this exhibition a deconstructive practice exercises that construct subjectivity and, of course, are also anchored on the plausibility of these three instances, the speakable, visible and thinkable. With the generic name "Who is Jose Rizal?" -Philippine national hero, "explores Ardena relation that mediates between the strategies of identity construction and aesthetic paradigms. And, as long as the regimes that have been articulated so keen to establish itself as standard-setting body that operates from the visual, identity formations as condensed constructs of power are closely linked to artistic practice.

This, Ardennes is 'appropriate' for 'copies' of paintings by Malevich , Reinhart Rauscheberg and to transform their intended purpose. If both the avant-garde as updating themselves in the sixties looking for a surrender of autonomous art the hard way, sometimes with more emphasis on transcendence, others put on the table their inclinations toward industrial manufacturing, now Ardena negotiated reinterprets the forefront of the primacy conceptual twist operates in the background historical delusions of contemporary art.

If the ready-made reveals the illusory aspects of the institution-art, revealing how spooky the autonomy of art meant revealing the structure and rules of art as essentially ideological, Arden upgrade from the first theorist to is based on ready-made to refer to the training-dirty as we shall see the subjectivity Ardena running these pieces using spray adhesive to attract dust. With this simple gesture, the operational functionality of almost 180 degrees art seals hat-trick before being put on the table, the speakable, thinkable, the visible-which undergoes a radical change.

And that is the legacy of Duchamp here is more than clear: this, with its "Dust Breeding " perverted way hitherto had the right to confront the artwork: a simple turn our gaze to that which already, by yes, he had the art-that is, had already acquired a certain relevance in the visible regime. Duchamp's concept of infamince-infralight could result-it becomes something that is there but the vision is unable to see. It is unthinkable, what is not said, what is not done, what is left of what was done, what is left of what is thought, is what I tend to do the impossible: the reflection and the surface, shade and soil, the footprint and field.

is, and the thread of what was said above, infralight would become the stitches in which reality plays with the illusion on which it stands: the adhesive which converges the regime of visibility given by valid and all the other reviled by the proper exercise of its contraréplica. The visible and invisible at their intersection, so predictable and not predictable in its suture unthinkable thinkable and not in touch: that is, the impossible as dark side of what in the politico-aesthetic regime shift, be taken as possible.

In this sense, and going a little further, if anything characterizes much contemporary art is an absolute denigration and disparagement of vision as a privileged sense of modernity. The paradox then is that the complete disappearance of the visual is impossible for art. In a perfect metaphor which has resulted in so airy 'return to reality', the complete disappearance of the visual in art would be its Real lacanianao: what is beyond itself, beyond the art but lack the structure and, as a place that is empty inaccessible.

Well might then say that Ardena Lacan transforms the sentence that the subject is what reverberates in the empty space that mediates between two significant, meaning that there is but dust, dirt in short- so late in the structural absence on which stands the subjectivity.

In short, dirt, dust, equivalent to 'objet a 'in Lacquer No, the rest of Derrida, and Deleuze schizo of : the cosmic basurilla that extra significance as sovereign who stands all construction-always-eerie and schizoid subjectivity and identity . What is worthless, so the broken system, it is not worth seeing, or if one prefers, what the aesthetic-political regime obvious in the prominence of what is best for you.

risky thing then contemporary art-work of the Ardennes presented here, is that as a metaphor does not compromise with anyone, but is situated in the gap accurate in the sense that occurs in the nonsense, to realize that, in fact, everything floats, everything is at the expense of a disciplinary system that do emerge in the visible, because, after all, what is by releasing but the choice of whom to obey?

Everything is in the normalization of a political form of display which stipulates that it is possible to be given to the view that, in its plausibility, always produces a surplus, a surplus, a powder, which condenses all the dirt not predictable, not visible and not possible, but in its impossibility, establishing a sense. Mission, then, art: making visible the invisible and vice versa, bringing to light the dirt that is always forgotten to implode within the meaning of meaninglessness.

addition supremacists and minimalist paintings reinterpreted conceptually Ardena show, in successive weeks, three different videos and sculptures that will indicated as the gap: to focus on the impossibility of what is forgotten in the dust subjectivity constructed at the polysemous repetition of the same significance and meaning which determines, to check once again that we are walking on a thin surface so fine, so now we are on one side, we are thrown into reverse. Visible and invisible, predictable and not predictable, possible and not possible: cuestiones –en último término- de ideología y política.