myarttngz (◕‿◕✿)

none of this work is my own unless stated i am a sly unoriginal witch bitch. or maybe a wannabe self help mall goth but tbh reality belies these sublime aspirations

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something I wrote, on the MTL Biennale

http://www.mcgilldaily.com/2016/10/the-grand-balcony-of-capitalism/

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Kool-Aid Man in Second Life.com

engaging with banality or an ironic critique of it 

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“Of course, this was once the artist’s claim to heroism — being sensitive to the times and other people’s affect so as to express a general sentiment or zeitgeist in a unique, compelling way. Aesthletes’ self-editing is now outsourced to the audience, who carefully pick over the barrage of content with unprecedented zeal. Their eagerness to assess and evaluate artists’ work lies somewhere between being volunteer market researchers and a wish to bend artists to their will and “democratize” their art.” 

... 

“Athletic aesthetics amounts to the supply-side gamification of the art attention economy. Notes, likes, and reblogs serve as the quantitative basis for influence in an art world where critics’ written word has been stripped of power.” 

Brad Troemel, Athletic Aesthetics 

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Reifying Desire 3 can also be viewed here: http://www.newmuseum.org/exhibitions/view/aboveground-animation-3d-form

One of my favourite pieces of video art/3D animation I’ve seen 

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the consumer-producer binary

We consume products that make people’s lives run more efficiently, gratify their desires more immediately. Is this to eliminate work from the leisurely sphere because it detracts from authenticity? Is there some relationship between buying into technological expedience and the fear of inauthenticity/fear of work permeating time that is free from labor activity? It makes sense that we consume products that increase the amount of time we can spend consuming/not working, which is also the time that we spend shaping our spheres of authenticity, literalized in the objects of expedience themselves. 

Below is a passage from Rob Horning’s “Authenticity as a Service”, which I think sums up the experience of being on either side of the consumer-producer binary. 

“What makes authenticity a valuable, marketable service? Why do people even think they want it? It is pointless to talk about authenticity without recognizing it as a response to alienated labor. Inauthenticity corresponds with the begrudging sale of one’s labor power, which ought to feel inalienable. When we sell our labor, it opens a gap: I am not what I do; I only do that for money. One is left asking oneself, “What do I really do?” Authenticity hopes to address that question by permitting us to valorize nonwork. What I really am is what I consume. Consuming is my real job. But this tenuous principle can easily invert itself: I consume things in order to become real. “I shop, therefore I am,” as Barbara Kruger’s now-clichéd slogan has it.” (Rob Horning, “Authenticity as a Service”)

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Three Figures in a Room | Galerie Perrotin

"Three Figures in a Room" Paul PFEIFFER | November 12, 2015 - January 09, 2016, Galerie Perrotin Hong kong

Last one. I actually saw this at the Paula Cooper Gallery in Chelsea but could not find any images/clips. Basically, one reel showed Manny Pacquio and Floyd Mayweather fighting, with no sound except these gruesome accentuated sounds of flesh battering, grinding, being absorbed into flesh that would make your skin crawl, whilst the other reel showed the editors of the film creating this non-diagetic noise. With the sound superimposed, the dynamics of race that play into the spectatorship of sport became really pronounced, and the lighting drew attention to the mainly white audience whose excitement/thrill/engagement parodied their privilege. 

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Ragnar Kjartansson (1976, Reykjavík, Iceland) is a multidisciplinary artist whose practice involves drawing, painting, video installation, and performance.

One of my fave exhibitions from this weekend in NYC. They had this viscous temporality, where change happened on an almost imperceptible level. I actually thought they were much shorter loops but I think they are something like 20hours long each. 

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MASAKATSU SASHIE at the Jonathan Levine Gallery, Manhattan. IRL they were super visually arresting, I wonder what they would look like on a much bigger canvas. 

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(MUNA)

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(MUNA) heard them at Warsaw in Brooklyn this weekend. band members were gracious n c0000000l 

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this is everything

http://koyamapress.com/projects/hot-or-not-20th-century-male-artists/

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☀️Living Temple☀️ print at ALPHACHANNELING.com Last week to check out this piece and others showing at @jackhanleygallery NYC until April 16

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moonshine <3