New exhibition at the Open Data Institute, London, from February 5 2020.
Tag: group exhibition
Notes on two new exhibitions of work by queer artists.
“Young collectors cocktails”
At PULSE (sic… they always style it like that) Miami Beach 2016 this December, there will be a “private preview brunch”, followed later that day by “young collectors cocktails.” I know, I had an urge to vomit too. The poor grammar here suggests that the cocktails will be made from young collectors; while I do think it’s a good idea for the 1% to be pestled and pulverised I’m going to assume they mean cocktails for young collectors.
These young collectors will probably only be slightly richer than the exhibitors, because it costs a (non-refundable) $275 to apply, plus a $2000 deposit against your final charge of either $4960 for a small booth with three lights– woo!– or a medium booth with a crazy FOUR lights for $6,200. You do get your $2000 back if they don’t accept you, you lucky thing, though $2000…
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What better way to celebrate a major* exhibition of Dame Barbara Hepworth’s Modernist art at Tate Britain than spending £1200 in their gift shop to dress like a Hepster? Luckily the
costumes clothes don’t have bloody great holes through the middle of them like her sculptures. Rather than a real artist of Hepworth’s vintage, they’re more like the sort of slightly-too-on-point-to-be-real ensembles you’d see worn by a beatnik artist Don Draper was knobbing on Mad Men. They’ve also wisely stuck to mod and steered clear of Babs’ occasional sartorial forays into getting herself up like a forest witch from a Russian folk tale. Designer Margaret Howell says “She was a woman to roll up her sleeves, and a woman who needed pockets – for chisel, pencil, and pebbles from the beach.” Do my eyes deceive me or is this woman actually mansplaining pockets to women?…
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Dramatic readings of the worst artist statements, gallery press releases and art criticism. All real! Oh how I wish they weren’t. In this super special edition with added PERFORMANCE ART that will make Marina admit defeat, pack her money bags and retire at last:
Q: Does your promotional material and critical text need to have any relation to or mention of what is actually in the exhibition?
A: Apparently not. Just write about looking at a dog in a sort of vaguely prose poem that reads like some stoned high school kid’s notebook scribbles. Apart from listing the names of the artists and mentioning that it’s an MA degree show, there is no mention whatsoever of what we might see, what’s interesting about it, what media the artists are working in, or why we might want to go. So it’s not just a horrible, pretentious piece of writing, it’s also…
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More dramatic readings of the worst artist statements, gallery press releases and art criticism. This is the last one for the time being, but I’ll be back soon with more highfalutin claptrap and a new dinner jacket. The art work being described (or not, as the case may be) was a “one nigth event” [sic] that took place in Lisbon this January. I suppose they could have further minimised the chances of anybody actually seeing whatever the hell it was they were showing by doing it in a boat 100km off the coast of Portugal or something, but theirs was certainly a brave step towards the high-end art world’s ideal of art not being visible to the general public at all.
The title ‘Aula de Ginástica’ [Gymnastics Class] evokes a notion of time, a unit, a moment, a class, an exercise or set…
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More dramatic readings of the worst artist statements, gallery press releases and art criticism every week, except when I don’t do them every week. This time: a flurry of neologisms that aren’t helping, and a lengthy explanation of the internal layout in a building over 99% of us will never see. Art criticism in a nutshell, basically. The exhibition was in Milan.
The traits of manifold colours which the artist creates by spreading acrylic colour with a brush, no longer using aerosol sprays as he did with the works produced in previous years, emerge from their grounds following vertical and horizontal directrixes and extend beyond their own physical limit in order to break the closed and defined limit of the canvas.
Artist is so magic! He creates “manifold colours” (there are lots of colours) and he spreads “acrylic colour with a brush” (a miracle never…
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More dramatic readings of the worst artist statements, gallery press releases and art criticism every week, except when I don’t do them every week. Do you have a creepy hair fetish? If so, it sounds like you missed a good craic in Lisbon at the start of 2014, my friend. If, however, you like good art then you probably dodged a bullet by not seeing it. Actually I know nothing about the art or the artist outside of this text. The art itself may be great, just overexplained and ruined by the ghastly, awful stuff written about it. It’s not unusual for that to happen.
It’s also not unusual to have fun with anyone, but when I see you hanging about with anyone it’s not unusual to see me cry, I wanna die.
Surprised by a piece that can only fully be appreciated in proximity and whose…
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More dramatic readings of the worst artist statements, gallery press releases and art criticism every week, except when I don’t do them every week. This time we’re going to demystify the inflated artist person. Look, we just are, OK? Don’t ask me how.
I seriously doubt that anybody could tell from the text what (if anything) the press release pertained to or was meant to promote, so I’ll have to explicitly say that it was a group exhibition in Vienna at the end of 2013. We all missed it. What a shame.
Keep watching after the credit to see all ten of the takes that were required before I could correctly say “a critique of institutional structures of authorship or their representational politics of normative gender roles and ethnicity.” This is a perfect opportunity for me to air out one of my favourite quotes about writing and…
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The Photographers’ Gallery in London is concurrently showing three collections of photographs by David Lynch, William Burroughs and Andy Warhol. I’m such a huge fan of David Lynch that I’m even prepared to forgive him his ridiculous adverts for Calvin Klein and for letting Twin Peaks degenerate into an aimless soap opera clusterfuck for most of its second season. Burroughs is probably not the kind of writer anybody in their right mind would be a fan of, but I like his work and he was undeniably a powerful stylist and one of the most influential and subversive authors of 1950s and 1960s. I’m totally indifferent to the majority of Andy Warhol’s screen prints, and to most other Pop Art for that matter. His work being worth millions of dollars is totally absurd.
Bearing all this in mind, it’s surprising that my opinion of these three mini exhibitions in completely inverse…
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Q: What do you get from Parallax Art Fair (sic) two months after your last request that they remove you from their mailing list and never contact you again under any circumstances because you will never be interested in what they’re offering, not to mention being implacably opposed to everything they do and stand for?
A: An almost identical email, of course! All that changed was the deadline for the submission of my all-important work samples. In their email of 12th November 2013 it was 6th December, while in the more recent email the deadline has mysteriously moved to 31st January.
I am the director who oversees the largest artist art fair in Europe called Parallax Art Fair. I would like to know if an exhibiting opportunity at the ninth edition of the fair might interest you as an artist. I hope you don’t mind, I…
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NEW ART MAGAZINE
Unpaid, submission is FREE!!!
Irrelevant, ugly new art magazine/art and lifestyle blog seeking submissions of 3,000-5,000 word articles for its next issue. Please submit your text, plus a CV and two examples of your previous professional writing from a major publisher or magazine we’d really prefer to be working for. All entries must be sent in a format that suits us because we’re really lazy but is incredibly inconvenient and aggravating to you, such as a single PDF compiled from various documents of different sizes, shapes and file types. Please also fill in our application form (download hidden in a cryptic sidebar somewhere on our site) even though it has numerous inexcusable spelling mistakes and totally screwed up formatting so you have to basically type the whole thing out from scratch just so anybody stands a chance of being able to read or understand it.
Your published work…
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THE PHOTOGRAPHERS’ GALLERY, LONDON, 18TH APRIL-30TH JUNE 2013
The first thing I noticed, and the reason I went back to The Photographers’ Gallery after boycotting it in disgust last year, is that they seem to have quietly reverted to not charging entry fees for their exhibitions. Victory is mine. When they’re publicly funded and sponsored for exhibitions by the Deutsche Börse and The Telegraph, then it bloody well should be free. They knew I was right, obviously. It’s good to be the king. I wonder what Mr and Mrs Telegraph (retired) think of Mishka Henner scouring Google Street View for itinerant rural prostitutes, though? I suspect they would take a dim view of the whole venture, even if the prostitutes are primly referred to as “sex workers” at the gallery, and described in an even more absurdly PC and “let’s not judge, mmkay?” manner on the web site as…
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The Wellcome Trust, London, 28th March–30th June 2013
Having seen this great exhibition of so-called Outsider Art– i.e. art by untrained people in care– I’m more convinced than ever that there’s either an absolutely massive number of respected contemporary artists running around with serious but undiagnosed mental illnesses and learning disabilities… or going to art school, having an MA or a PhD, knowing the right people in the art world, being shown in the “right” [sic] galleries, and being spoken of and approved of in high level critical discourses around contemporary art all signify absolutely bugger all about an artist’s talent or ability in most cases. Because there’s basically no difference between much of the work in Souzou and much of the work to be seen in contemporary art galleries and art fairs all over the developed world. Except possibly there’s a slight difference in the sense that…
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