we can agree that there is no clean money. indeed even in the drc the biggest profits are probably being made by the big western/south african/american diamond conglomerates (Famous Philanthropists Inc.) who wash mrs macbeth's glitter and wahlah it reappears as a little bitty thing on a zillion engagement rings. But ther is something really stomach turning about this whole Venice thing. The last minute way it was put together, the opportunism of selecting from a ready made collection, never mind how this decision valorises not only the collection but also The Collector ( what is ignored and left out of the party is THE ARTIST, about to speak, to make work, to show work) . ALSO, look at what has just happened at Cannes, where African Cinema has been bummed off, and by way of contrast, get down to Auntie Sang, they have a show curated by trainee Loyiso Qanya. It's good! Good and from home and at home. With some stuff made by artists who were away from home. Kind of made me reassess my dislike of the category 'resistance art' . Still hate the label, but seen in this company & context it all seemed work ( & an attitude) to be proud of.
if we want to get personal and anecdotal you can stop the next DRC migrant in the street & ask him or her why they left... but when did art have anything to do with life?
what I meant was, that what constitutes 'positive' or 'negative' could look very different depending where you are, both in theory and in life, and especially where theory attempts to throw light on life
Bartholemey Toguo seems to think there's a connection between art and life, but what would he know, not having access to the vast experience of anonymous 10.31
View RSS feed
Technorati Profile
13 Comments:
we can agree that there is no clean money. indeed even in the drc the biggest profits are probably being made by the big western/south african/american diamond conglomerates (Famous Philanthropists Inc.) who wash mrs macbeth's glitter and wahlah it reappears as a little bitty thing on a zillion engagement rings.
But ther is something really stomach turning about this whole Venice thing. The last minute way it was put together, the opportunism of selecting from a ready made collection, never mind how this decision valorises not only the collection but also The Collector ( what is ignored and left out of the party is THE ARTIST, about to speak, to make work, to show work) . ALSO, look at what has just happened at Cannes, where African Cinema has been bummed off, and by way of contrast, get down to Auntie Sang, they have a show curated by trainee Loyiso Qanya. It's good! Good and from home and at home. With some stuff made by artists who were away from home. Kind of made me reassess my dislike of the category 'resistance art' . Still hate the label, but seen in this company & context it all seemed work ( & an attitude) to be proud of.
don't be negative (negative)
just be positive (positive)
actually , m & e, because they are relative concepts "you can't have one without the other..."
If you were a nice, balanced human being who just happened to be born in the DRC, what would you think was 'positive'?
balanced on whom? balanced by whom? balancing whom?
maxi is clever! s/he has stunned them into silence
if we want to get personal and anecdotal you can stop the next DRC migrant in the street & ask him or her why they left... but when did art have anything to do with life?
what I meant was, that what constitutes 'positive' or 'negative' could look very different depending where you are, both in theory and in life, and especially where theory attempts to throw light on life
ooooh thats deep
your theory sounds like opium
Bartholemey Toguo seems to think there's a connection between art and life, but what would he know, not having access to the vast experience of anonymous 10.31
touchy touchy
oh what an embarrassment, caring about anything.
Post a Comment
Links to this post:
Create a Link
<< Home