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toi ko cam nhan duoc su yeu duoi trong toi toi cam thay minh rat bat hanh
este concierto se pago con narco dinero de arestegui ruiz de secuestros impunidad:
MILES BAILAN EN EL ÁNGEL El concierto para promover al DF reunió a 160 mil personas; en la foto, Natalia Lafourcade | Ver
adidriksson@educacion.df.gob.mx ... 5511 4865, 5511 5131 Ext. 2096 E-mail:arestegui@educacion.df.gob:
adidriksson@educacion.df.gob.mx ... 5511 4865, 5511 5131 Ext. 2096 E-mail:arestegui@educacion.df.gob.mx industria del secuestro del crimen organziado patanes poco hombres delinquentes del prd.org.mx
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Tuesday, November 4th 2008
9:10 PM
Art now, or some of it....
Odd short visit to Paris where I seldom go any more. Convinced myself that it is a provincial backwater, but maybe because I no longer want to spend my nights in the Keller, or waste afternoons trailing round the bars and saunas, packing a bit, or even a lot of writing between these daily rounds. Paris is just an affect of my getting older, but even then, autonomously, it has too many art exhibitions. I want to see the Picasso shows, but I went to see Jermey Deller at the Palais de Tokyo - where the food is great and the eaters genuine bobo. I like going there because of the way it has been made a ruin in the redesign as a trendy space. When I was a teenager I saw the Musée National d'Art Moderne there, beautifully hung on the curving walls, and fine in the art deco interior, in its own time a tendy space in an amazingly conservative national culture. Put together by Jean Cassou with a sense of daring that was more difficult than any of our generation had to have, but then he was in the Resistance, it outfaced the anti-modernity that preceded Pompidou's rightist modernism. For Hans Ulruch Obrist, unlike Cassou, it was made for him to play in and not against. I'm pleased that I knew it then and I'm pleased that it changed like this.
Deller has always puzzled me a bit, feeling I ought to admire him but finding the whole thing a bit nul. His consecration at the Palais de Tokyo came to my attention via a bath time reading of Les Inrockuptibles, so I made my way there to discover that he is a nerd, a classic nerd and even a great nerd, the curator artist needs to be a nerd to put all that together, from the modern political banners to the drawings by prisoners and the photographs of casual art or street art or inoformal art of everyday decoration, whatver it is called. The idea seems to be to collect and to make visible. One could argue that he is a sort of Rancière-like curator, voicing the unvoiced and splitting the visible with the unseen and the unheard. One could also say that he is a rather outmoded populist who has a certain contempt for the viewer's capacity to have an autonomous experience of the everyday. What matters is his collection and collecting, and that we witness it, and in this way he is a rather regressive figure of making art - I should say that I go for the second view, while wanting to play with the first because it would make a more noble and interesting piece by me. That said, it does touch me to the extent that it makes sense of a certain experience, and the bit I liked best was the French rock section, for the simple reason that I recalled my flipper days at pin ball machines in seedy cafés near the Gare du Montparnasse and the 8mm juke boxes of the early 60s.
But here I am, challenged to say much about Deller at all. He does a good enough job of transmitting stuff that might be overlooked, but his only contribution is to do it in Galleries like this. In the end I much prefer the Kabakovs, who do make complex art as well as collecting a lot of stuff, and I prefer the old Radio Ballads which also undertook a complex transformation of the vernacular into a new form.
Deller has always puzzled me a bit, feeling I ought to admire him but finding the whole thing a bit nul. His consecration at the Palais de Tokyo came to my attention via a bath time reading of Les Inrockuptibles, so I made my way there to discover that he is a nerd, a classic nerd and even a great nerd, the curator artist needs to be a nerd to put all that together, from the modern political banners to the drawings by prisoners and the photographs of casual art or street art or inoformal art of everyday decoration, whatver it is called. The idea seems to be to collect and to make visible. One could argue that he is a sort of Rancière-like curator, voicing the unvoiced and splitting the visible with the unseen and the unheard. One could also say that he is a rather outmoded populist who has a certain contempt for the viewer's capacity to have an autonomous experience of the everyday. What matters is his collection and collecting, and that we witness it, and in this way he is a rather regressive figure of making art - I should say that I go for the second view, while wanting to play with the first because it would make a more noble and interesting piece by me. That said, it does touch me to the extent that it makes sense of a certain experience, and the bit I liked best was the French rock section, for the simple reason that I recalled my flipper days at pin ball machines in seedy cafés near the Gare du Montparnasse and the 8mm juke boxes of the early 60s.
But here I am, challenged to say much about Deller at all. He does a good enough job of transmitting stuff that might be overlooked, but his only contribution is to do it in Galleries like this. In the end I much prefer the Kabakovs, who do make complex art as well as collecting a lot of stuff, and I prefer the old Radio Ballads which also undertook a complex transformation of the vernacular into a new form.
1 Comment(s).
Posted by Shawno Ashmore:
Cool blog. I really enjoyed it. Nice read... Shawno Wednesday, November 12th 2008 @ 5:34 PM
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