re: looking for a space

Jerry Saltz wonders, Can Space Break?

...Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors...the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years. As this type of art fades, these spaces can be seen for what they are: theatrical, generalizing, antiseptic environments that make art look like it’s in an isolation cell or an operating room.

The white cube today is a parody of itself. Since these spaces first appeared in the seventies, a monstrous reversal has taken place. Where once the ethos of the architecture arose from and worked with the art on view, today art is being determined by the viewing spaces, which have mutated to a point where they are the main content of any show. The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer’s journey, shifts the emphasis from process to product, and lacks individuality and openness. It’s not that art should be seen only in rutty bombed-out environments, but it should seem alive.

since Plan A said NO...

POSSIBLE SPACES?

Just a thought...

flags

studio view

a lot of hand motions and indications with the arms

How can it be described? How can any of it be described? The trip and the story of the trip are always two different things. The narrator is the one who has stayed home, but then, afterwards, presses her mouth upon the traveler's mouth, in order to make the mouth work, to make the mouth say, say, say. One cannot go to a place and speak of it; one cannot both see and say, not really. One can go, and upon returning make a lot of hand motions and indications with the arms. The mouth itself, working at the speed of light, at the eye's instructions, is necessarily struck still; so fast, so much to report, it hangs open and dumb as a gutted bell. All that unsayable life! That's where the narrator comes in. The narrator comes with her kisses and mimicry and tidying up. The narrator comes and makes a slow, fake song of the mouth's eager devotion.

-lorrie moore, birds of america

s2: stockholm syndrome

Stockholm {Patty Hearst standing in the lobby of a bank holding an assault rifle screaming "I'm Tania!"} Syndrome 

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in {turnin me every way but loose and now I wear lungis and bobble my head} dia

christine and i are looking for a space

with walls that i can fuck up
hammer into
paint on
etc.

the space need not be too finished or tidy. should have power. but walls are most important.

i'm thinking about this article about installation written by a man named boris.

christine is probably thinking about shoes.