With the Catlin show done and dusted I picked up my comments and below are some of my faves.
Great Idea Art and History Combined
interesting what next?
whoever did bananas on a shirt and in a bowl (think this is ment for Gabrielle)
yours were so much better than the others AMAZEBALLS
THIS IS IT
this is mostly out of friendship
post media art. Some think what moving into history of art
loved the colours
a powerful understatement
Max Dovey had more to offer
In my humble opinion the most insightful and stylist piece in the exhibition. It made the present a precious thing for the future.
Adeline de Monseignat Max Dovey
The only piece that makes you really think
Max Dovey loves TV (so do i…)
This world is a much better place with a break from TV.
Really liked the concept especially using vhs
Because i remember the testcards well.
The most conceptual piece of work here
Await the day
A suitable symbol of the passing of an age and the entry into a new one. We stand together facing the future, filled with fear but resolute.
4 the joke
Good idea – needed doing
We don’t know what we have lost.
HUO: The artist Paul Chan says that in art, and in general, we should just stop quoting. Would you agree?
AC: Yes, he’s absolutely right, because my working theory is that we live in a managerial age, which doesn’t want to look to the future. It just wants to manage the present. A lot of art has become a way of looking back at the last sixty years of the modernist project, which we feel has failed. It’s almost like a lost world, and we are cataloging it, quoting it, reconfiguring it, filing it away into sliding drawers as though we were bureaucrats with no idea what any of it means. They’ve got nothing to say about it except that they know it didn’t work. It’s not moving onwards—we’re just like academic archaeologists. It’s terribly, terribly conservative and static, but maybe that’s not a bad thing. Maybe in a reactionary, conservative age, that’s what art finds itself doing. The problem is that it pretends to be experimental and forward-looking. But to be honest, in some ways I’m just as guilty. What I do is not so different—using all sorts of fragments from the past to examine the present. Maybe this is simply the iron cage of our time—we’re like archaeologists going back into the recent past, continually refiguring it, surrounding it with quotations. It’s a terrible, terrible prison, but we don’t know how to break out of it.
Taken from HAns Ulrich Obrist in conversation with Adam Curtais.
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