Thinking about subjectivity and how it comes about. Thought of as a product, and effect(?), of objects – of Marxian commodities, the actual results of this consumptive rumination on sexuality. Thinking a lot about this and the relation between image and text that is being investigated in Wei Weng’s Antimapping project.
There are narrative fragments but there is no linear coherence. We are encouraged to read vertically, through association, across the relations of text to image, along the terms of the primary processes of condensation and displacement. No longer consumers at the margin of a finished work, we are drawn onto the site and onto the process of meaning itself. In this process our sexed subjectivity and its pleasures in representation are also implicated, and indeed become the subject matter of the work. [a discussion of the films of Victor Burgin]
TICKNER, Lisa (1984). Sexuality and/in Representation: Five British Artists. In: ed. Preziosi, Donald, The Art of Art History: A Critical Anthology. Oxford: Oxford University Press 1998, p.364.
My friends at the Laoban Soundsystem will be installed in the Gallery tonight presenting their new venture, the Laoban Soundsystem. This is an open invite to all artists, musicians etc. to come along and show off what they are working on. Should be an exciting, energetic evening! Come along and see works in progress.
Friday, December 12, 8 PM – 12 Midnight, Free and Open to the Public
We invite all to come out to the launch of version 1.0 of the Laoban Soundsystem for a special Holiday Mixing Event at CPU:798. This is a new type of media event where all are welcome to join, bring media, laptops, video players, cameras, and other recording devices. The goal is to mix media, explore what artists, DJs, musicians, designers, and architects are working on RIGHT NOW — successes, failures, and rough edges are welcome at Laoban events! The ultimate plan is for consumers to be producers by both mixing media, and by tagging any recordings they have with “laoban” when posting onto twitter.com, flickr.com, or other places.
An edited Chinese-language translation of a piece I wrote was published in Vogue China in November 20081. These are my original texts in response to the questions the editor proposed as the structure for the piece:
Please write down why you picked Damien Hirst?
Hirst is a controversial character who gives a writer a lot of material to get their teeth into. Whatever else you think about him and whether or not you think what he does is serious, I think you have to admit he’s making some serious points about his practice as an artist and the role of art for humanity. He’s also not shy of confronting the art world’s workings and it’s position in society.
His work has gone through many stages. It has a tendency towards the theatrical or cinematic in the sense that many of the larger works create settings in which there is a gap available for the human figure to take it’s place so we become part of the work. This sumptuous theatricality tends to overshadow the fact the Hirst is primarily a conceptual artist, concerned more with the idea behind the work than the absolute form the work takes. For him craftsmanship or artistic style are all subservient to the idea behind the work – but the effectiveness of the form often leads to his work being misunderstood (especially by the tabloid press in Britain) as semi-decorative and lacking in any deep meaning. This isn’t helped by Hirst himself who can often appear flippant when asked to justify his work.