![]() ![]() Curating, in a kind of slide show, the major public sculptures of the metropolis, literally ‘screening’ the principals of the modernist inhabitation of sculptural space, the figures seem suddenly absurd. ![]() On show at the Dye House in `Speak, Memory!´ curated by N/V_PROJECTS and supported by LUX, Mark Leckey’s fabulous The March of the Big White Barbarians uses this strategy of negative curating to undermine the concrete and reinforced-steel certainties of ideology. In different venues around Peckham until Sunday is the PAMI festival (Peckham Artist Moving Image). Here is another metaphor: this is web-space-junk: orbits of burnt-out asteroids that once lit up the night sky: this is curating’s negative. There is then a wake there is detritus, the left behind, the flotsam. Waves distribute but they also produce visibility and its context, being carried along is the substance of the message: ‘trending now’. The waves ‘carry’ the images as all mediums do, they carry information from one site to the next, as if from studio to gallery. The metaphor is proper to the medium, the technology allows for a liquid flow, ‘my love is like the ocean’, it has waves. ![]() There is now, however, no Dadaist logic of shock, the images are entirely equivalent, transitions are totally slick. What is the montage of today? Image streams, Tumblr. The world wide web is a curatorial practice, reframing and re-presenting the world as a series of interchanges of exchange between consumers, mirroring the flow of the production of capital. ![]()
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