יום שישי 07/05 20:00
I hate it, where’s the after party
הקרנת עבודות וידאו של הסטודנטים של הסטודיו לוידאו בהנחיית אלונה פרידברג, מחלקה לאמנות, בצלאל
Etti Davidov Marland
Romi Ben Yosef
Amir Bolzman Live
An Anti group exhibition established facing the post-pandemic era and resolution of the aftermath.
In the center of all shown works stands the elephant of expectations, facing the wall.
What other curatorial spaces try to subvert as ground rules, we push to the grotesque, striving for its dissolution.
The show is its own opening and closing event. There is no time in between to pretend that it’s a mirror in the face of a young art scene.
We try to dismantle existing art cliques by building another one that will replace the former.
Doomed like the post-liberal quest for authority structure, but this time we are facing the pure dictatorship of art.
This show needs to fail due to its ideological base, it destroys its purpose by mere existence.
This art happening, deprived of its essence, remains in the gallery space, orphaned from the spectators’ sight.
The ridiculous cacophony of this show lies in its surrounding noise; creating a worthless echo chamber, awaiting to evaporate into nothingness.
Curatorial work seeks relevancy and context by forming the artist as the subject,
which means the artists in their human aspect are more real than their body of work.
This art show has no theme and exists in the context of itself.
No one is selling. Thus we set the ground for pure collaboration, expressed through horizontal distribution of power, in which artists can scale their influence.
Once the strive for compiling through so-called concept is nullified, curatorial action changes its nature.
The transcendental process of art could only be fully experienced once detached from the world of appearances and grasps the realm of the Real.
CV culture. Social media, performing a role previously manned by establishments, offers the false premise of a liberal utopia where success is decentralized.
We hijack existing establishments, sneaking through the Overton window with no compromise on our agenda, which does not exist.
We depreciate the value of establishment recognition, spreading it stochastically through pure opportunism. A model which would theoretically lead to inflation in the economy of fame.
In our culture of promises, the object no longer matters, only its contagionability across media.
This Sisyphean role of revolutionary acts, devoided of a solution, is destined to forever fetishize change at all costs. So does this text function in the maintenance of
existing status-queues through an infinite loop of self-reference.
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