lian ladia
An Eye-Catching Poetic Display of Importance : Name of Artist A subtle hint of why the exhibition is important or a perfectly good excuse to keep reading By: a name necessitated if it’s not the gallery assistant This text will discuss the relationship of the artists work with the premise of the exhibition. The first paragraph usually starts with adjectives, metaphors to justify the visceral and spatial movement embodied in the work. It would be wise to link the work with new forms of inter subjective experience and affirm certain beliefs in the avant-garde tradition. By this statement, you are opposing the importance of any kind of linear narrative. Postmodern tradition usually resists direct interpretation and favors abstraction (but nevermind that, depending if the work is weak or not, this text would require more references to authenticate it). Undoubtedly it helps if the text will be supported by quotes of philosophers or art writers. These quotes will be integrated with the artist statements and the occasional idiosyncratic key issues in art theory while challenging the assumption that it is difficult to understand. Sometimes, communication can fail for the lack of terminologies in the modern art canon. So you can simply coin your own word. Most of the time this is preferred, as our shared lingua franca (both visual and literal) can be dangerously abstract or objectifying. At some point, politically speaking, this can be placed upon a level of advantage by neglecting many others that equally deserve attention or prioritizing key events in conventional art history simply by pure association. Although this may not be preferred by artists who are generally dissatisfied with authority and traditions in the institutionalized art world. We can’t deny the fact that people and things are valued not for their intrinsic worth but for the potential for industrial expansion. By refusing to communicate to the viewer and freely associating with what’s successful in the traditions of the market – this language barrier asserts difference form and resistance to banal mass culture. Whose level of intelligibility is reflected towards dealers, curators, wealthy collectors, and the critic legitimizing the whole art historia apparatus. As Mark Rothko would say, “How often it must be permanently impaired by the eyes of the vulgar and the cruelty of the impotent.” At the central part of the text, the reader is supposed to come up with a conclusion based on the presented facts of the writer. There must be a relationship taken from the work with the core values of society. The values of society are validated through the footnotes mentioned on the text. These footnotes contain seminal text that are constantly referred to or discussed in Art History [1]. This constant reference points preserve the historical culture and re-integrates accumulated knowledge focusing on key shifts, blurring lines, gradual movements, shifting towards or away from the reference.
1 Name of Author (usually Walter Benjamin or Jean Baudrillard ). Year of publication. Alternatively, if you have used this footnote previously, you can write down Ibid and page number (Ibid: latin translation for something that was mentioned previously). This method is ancient and handy if you don’t want to be accused of plagiarism. If you are a bookworm, this gives you good lead on buying the next great book.
The last paragraphs will be a summary which will integrate the primal ingredients necessary for the text to be an “accepted framework,” a language we can all understand. The work should disrupt or challenge the viewers expectations. A coherent, historical, and critical account of the artists work and process is definitely an expectation. It has gone long enough that critics have generally neglected some really important works of art. And no matter how good they were, nobody knew about it due to the absence of sustained historical record. In conclusion, we go back to the suggested premise of a “presupposed” avant-garde lineage on the first paragraph, you will find out that historically, Avant-garde artists believe that western society has come to view the world more inclined to unconventional protocols. Abstract expressionism on the other hand (where Rothko belongs to), was also a period where radical otherness became a glimpse of possibility. So yes, it’s good that the text association with these references was established from the very beginning. It all ties into transcending existing divisions or identifications, imposing a dialectic by being critical and accepting. This kind of dialectic is a typical method of argument to resolve disagreement and it poses more questions than answers. It would be best to end the exhibition notes without any presupposed conclusions to emphasize the flux of existence (and its quite normal to negate your own thoughts… it’s an accepted healthy exercise). Floor plan (theoretical) 1 The process is planned to take place. The uncertainty gave me sleepless nights. 2 A video will be projected in a dark room. Black curtains can be utilized for a full effect. 3 A pile of newspaper will be produced as a result of an artists’ idea-based project. The newspaper is free for anyone to take. 4 The painting will be manifested into a sculpture. Something the artist has never done, and something I strongly suggested. 5 Program starts at 7 pm. 6 For 24–hours a machine will be continuously making sounds functioning as a kinetic sculpture on space.
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(actual) 1 A process is currently taking place. Everyone is acting on the moment. 2 The room is being shared by another artist. The video will be put in the monitor and headphones will be used to control sound interference. 3 Nobody is taking from the pile of newspapers. I need to ask the interns to distribute and walk around ASAP. 4 The sculpture looks contrived. 5 Program starts at 8:30 pm. 6 The machine is unplugged.
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Gallery floor 1
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Gallery floor 2
lian ladia & jerlyn jareunpoon text by Alicia Frankovich, excerpt from an interview with the artist, April 2011
photo credits: Ignacio Garcia