As is now traditional (well, three years in a row), I collaborated with CTRLZAK Studio and JCP to provide names and narratives for a collection of hybrid but functional art-design objects for sale, with their premiere at the Salone del Mobile of Milan Design Week 2018. We got particularly kinky this year, with references to … Continue reading Odeum at Milan Design Week
BY GUEST CRITIC PP BORBORYGMUS, CONTEMPORARY ART CORRESPONDENT AT LARGE FOR TEMPORARY CON ART MAGAZINE
1. THE FRIEZE PARTY
It’s fabulous because hardly anybody can get in, so no riff-raff will be there to see you trash the place and talk shit about the person you’ll then turn right around to, air kiss and and be all smiles with. You’ll see lots of peons outside, though, trying to blag their way in as you sail through like an oligarch’s yacht (see No. 2) deliberately ramming a Mediterranean immigrant raft. That’ll show them who’s important and who isn’t. Matthew Slotover is a darling and almost never strangles people then stuffs them into weighted suitcases to dump into the lagoon from the back of a water taxi in the middle of the night a bit like that chap in American Psycho. Don’t forget to appreciate his tasteful business card and you…
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Some bonkers choreography with Heather Parisi, from the 80s Italian variety show Fantastico. Firstly, Frankie Goes to Hollywood never seemed so… confusing? It looks a bit like a toned down, bowdlerised high school production of Cruising. Still molto gay, though. If Heather’s dance partner is thinking about relaxing, doing it or coming, I very much doubt it involves her. Put some trousers on Heather, love. You’ll catch your death of cold.
Even better, here’s Heather again doing some way-ahead-of-their-time Gangnam Style ridiculous dressage pony moves and gurning to Tullio De Piscopo’s nail in Italo Disco’s coffin, Stop Bajon (Primavera). The smoke in these bubbles must be what the choreographer was inhaling when they came up with this number. Watch out for a random, drunken, camp fellow enjoying his big acting break at 11:48, a bit of very irresponsible chiropraxy at 12.49, some very unsexy from 13.35, and–…
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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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I recently renewed my acquaintance with Lamberto Bava’s deliriously silly 1985 gore film Demons/Demoni. It made me pine for the days in the late 1980s and early 1990s when me and my friends actively sought the worst VHS rental films to laugh at, be bewildered by, bitch about, quip at and get drunk with. For those who have missed out on this kind of wonderful experience– maybe you have mostly dullards for friends, or your partner affects only to enjoy good films or something, I don’t know– I recommend Red Letter Media’s Best of the Worst videos to give you an idea of how much fun you can have with a couple of atrocious films, a few (or a lot of) beers and some witty pals.
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Ten international galleries want you, like a vampire bat wants sleeping cattle. Premio Ora (“Premium Hours”) says that the “basic registration fee required as partial coverage for organizational expenses” is €60 to enter three art works for consideration. Poor things, only covering their organisational expenses partially. Each additional image after the first three is only €5 and luckily for
them you, it’s possible to enter an unlimited number of works.
Yes, it’s another sketchy “opportunity” for artists to enter a competition where they pay for the remote opportunity of possibly getting an unpaid gallery show, i.e. something that an artist should usually be paid for, or at the very least should not have to pay for in order to be considered. I’m providing links here for the purpose of verification; I wouldn’t suggest visiting any of them unless you want to know which international galleries are involved in this farrago…
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Giuseppe (Pinot) Gallizio (1904-1964) worked for most of his life as a pharmacist in Turin. Like many people (including me) who come late or by an otherwise circuitous route to the art world, many of its practices and assumptions struck him as utterly absurd; even more so as he began to participate in them. Gallizio was a founding member of the International Situationists (society of the spectacle masking the degrading effects of capitalism, Guy Debord, the 1968 French uprisings, détournement, dérives, etc: it’s far too large a subject to cover in a single blog post…) and in his art works he tried to cultivate a sense of play and creativity in the face of the capitalist imperative to recuperate, neutralise, and monetise even something as indefinable as art.
One of his projects was industrial paintings, abstract works on scrolls that were designed to be sold and cut on…
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