14 December 2011

I MADE SOME ART - NOW TELL ME EVERYTHING I NEED TO KNOW ABOUT A CAREER IN THE VISUAL ARTS

artists who play with a "rupture of sense". 
Strangely indistinguishable from the familiar terrain of normality
The show explores what it means to step over this barrier and to set foot into the inexplicable and illogical world of humour
These strategies, and those of all the artists in 'Ha Ha Road', serve to illustrate the liberating freedom of thought at work in humour. 
A REAL COMEDY SPECIALIST WE HAVE HERE FOLKS:


"I really doubt a member of KEK or an aficionado of Broodthaers actually wants an explanation, but a photo's worth a thousand words, one's i agree with more than the curators write up."





CHARLES  STANKIEVECH
Die Mauer (The Wall), 2009
Nine vinyl records with covers
Courtesy of the artist
Charles Stankievech (b. 1978) is a Canadian artist who often uses
installation and sound art to tell stories inspired by landscape, architecture
and history. Embedded in this practice, Stankievech's minimal installation
Die Mauer intertwines languages of conceptual art, cold war iconography,
institutional critique and rock ‘n’ roll pop culture. In 2009, exactly 30 years
after the album release (1979) and 20 years after the fall of the Berlin Wall
(1989), the artist bought all The Wall vinyl records by Pink Floyd for sale at
the popular Mauer Park Market in Berlin. That day, there were 9 used LPs
of various editions and prices available from various independent sellers. In
the context of Ha Ha Road, the long assemblage of freestanding covers with
their album art of white bricks daubed with graffiti resonates with the idea
of the “barrier” at play in the exhibition’s title. But positioned on the gallery
floor, due to their specific design, the covers make a humorous reference also
to one of the UK’s greatest art scandals ever: the vandalisation of Carl
Andre’s Equivalent VIII at the Tate in the 1970s. Protesting the idea of “a
pile of bricks” actually being art, someone smeared this work with paint. We
would invite you to be a little more gentle.

2 comments:

STOP FAKING IT said...

As an art historian[citation needed], Shearer posited that many of Marcel Duchamp's supposedly "readymade" works of art were actually created by Duchamp. Research that Shearer published in 1997, "Marcel Duchamp's Impossible Bed and Other 'Not' Readymade Objects: A Possible Route of Influence From Art To Science", lays out these arguments. In the paper, she showed that research of items like snow shovels and bottle racks in use at the time failed to turn up any identical matches to photographs of the originals. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original Fountain at J. L. Mott Iron Works. Such investigations are hampered by the fact that few of the original "readymades" survive, having been lost or destroyed. Those that exist today are predominantly reproductions Duchamp authorized or designed in the final two decades of his life. Shearer also asserts that the artwork L.H.O.O.Q., a poster-copy of the Mona Lisa with a moustache drawn on it, is not the true Mona Lisa, but Duchamp's own slightly-different version that he modelled partly after himself. The inference of Shearer's viewpoint is that Duchamp was creating an even larger joke than he admitted.[5]

Anonymous said...

What is this post?
--T. Hogue, Vancouver