Clearly the art world has to take some risks to both immunise itself from any devastating critique on the one hand and to possibly adapt its processes so it is not out of step. So is Carroll/Fletcher acting as a kind of art world canary with their Eva & Franco Mattes show?
"Their interventions and subversive hoaxes can be traced to the tradition of the Situationist International’s use of ‘detournements’ or diversions of existing cultural productions, in order to subvert the originals and destabilise the structured modes of understanding reality; a technique that reach far beyond mire scandal and develops into a powerful critique of contemporary commodity and spectacle society."
Photo of Stolen Pieces (1995 revealed in 2010) presented in very Bond Street settings. Forget precious jewels the lastest must have accessory is a Mattes ‘Stolen Piece’, A bit like a Faberge eggs with graphitee designs inlaid in gold and diamonds.
Interesting because this is a commercial gallery (specialising in cutting edge work) and the work is intending to "expose and question the art world’s established systems of validation and promotion." according to the Carroll/Fletcher gallery press release April – 18th May 2012.
To what extent does a state or commercial gallery frame in fact neutralise oppositional work by artists? What are the mechanisms of this neutralisation?
Can capital allow its own destruction by the freedom given its own commodities?
The Horrible Histories’ Luddite Song is an example both commodified and progressive. The owner of this series is very rich and yet it has a true spirit of both history from below and the new history about it. Even more so in the live show that tours regional theatres.
How much is it my own utopian fantasy of an oppositional movement from outside of capital, from the poor in a way, that mounts a challenge to the system. Could it in fact be a coalition of rich pop stars, best selling authors, celebrity artists, perhaps with the help of the new feature documentary makers that come together and turn culture against the state?
Could the State itself accomodate art that moves us towards a new form of democratic accountability? Handsworth Songs in the Migrations show. Can 60 minutes be negated by its institutional frame? The point is what happens overal. Looking at the list of sponsors and patrons it is really unthinkable that their interests would be undercut by such an institution.
There are also Stolen White Goods by Andrew Savage and Stolen Goods by Chris Twomey…
Tagged: , art , stolen. fragments , perspex