A statement about the potential of communism for philosophy today trips itself up hopelessly through the endless tongue-in-cheek jokes by the speaker, whose character appears to be based on Slavoj Zizek.
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Patrizio Di Massimo (1983, Jesi, Italy) is resident at De Ateliers in Amsterdam and has exhibited at spaces including the Kadist Art Foundation in Paris, Witte de With in Rotterdam and Art Basel Statements.
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By changing the personal pronoun of the sentence from third to first person Lagomarsino plays with the assumed responsibility of the quote and flirts with the fact that it was always a fictional statement anyway.
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In her concluding statement, Irit Rogoff, professor of Visual Cultures at Goldsmiths, University of London, will question the possibilities of periodization of colonialism and address the mobility of the concept itself.
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In her concluding statement, Irit Rogoff, professor of Visual Cultures at Goldsmiths, University of London, will question the possibilities of periodization of colonialism and address the mobility of the concept itself.
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An earlier statement of the group resonates throughout this exhibition: “…A ‘state of emergency’ is in the process of becoming a quotidian reality, a strange new ‘norm’ that affects all areas of life, a grey backdrop for the everyday.
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Besides the subjectivity of the information underlying the script - interviews and witness statements - the artist emphatically creates a space for the viewer’s subjective experience, somewhere in the interpretive gap between word and image.
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Not only because there is no work to look at which has been produced by the artists’ own hands, but also because the fundamental thought in conceptual art is that art can be nothing other than a statement about art’s possibilities, an analytical proposition.
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Engagement with these desires and their side effects is a shared characteristic of the works presented in the framework of Made in Commons,” said KUNCI’s director Ferdiansyah Thajib and project curator Kerstin Winking in a joint statement about the exhibition.
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Young himself is unrecognisably transformed in the images, and appears to be a distant ghost singing "There's more to the picture than meets the eye." The constant doubt about and investigation of this statement seems to be the motive on which Van Kreij's work rests.
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