The gangstar with six finger walks throug the room chasing the inner dream

Result #1

, the imbecile with a steely stare who cant join the race with his real nemesis, the artist. The inner dream (the one-dimensional dream) is the last word to be found there. Despite its self-consciousness, this dream is cathartic, and its worth celebrating. Perhaps the dream is the one that finally transforms the images of glamour into the low-hanging sights of wealth and power.

Result #2

The gangstar with six finger walks throug the room chasing the inner dream. The black-clad critter swings back and forth and clums over the briefcase, which is decked out with the typical sartorial effects (white silk fringes, washboard knee pads, etc.) of a high-class traveler. The critter gloats, jiggling and twirling in a space suit, all bared teeth, and an X at the crotch (the implication is that, as a member of the micro-gangs, the critter is much more a business partner than the gangster himself). The series of internal events depicted here provide a touchstone for future events. It is an elegant series of reversals, a forensic view of the criminals habit of seeking to transform themselves into self-image by establishing relationship with the outer world. The slightly misshapen critter hovers like a dream on the apron of an infirmary, perhaps awaiting legal documents and an official identity document. And in one of the most suspenseful scenes, a family of colorful mutilated children stares into a mirror, their grinning faces suggesting a glimpse into the womb of some mysterious alien force. These reactions are a synthesis of the flat-footed fantasy of childhood with the intimate snapshot nature of the historical object.These scenes are fed by a lively foregrounding of the nature of the struggle against degradation and the disturbing possibility that ordinary people will become monsters or lose their humanity. This story begins with a sketch of a suburban house, which is followed by a home in the shape of a kitchen table, which we see as the outside of a house. A man stands in the foreground, standing at a desk in front of a small desk. He is a shotter in a suit, but it is obvious that the action will soon take place inside.

Result #3

The gangstar with six finger walks throug the room chasing the inner dream of the various creatures in her favorite—but also forgotten—dream image of her boyfriend, whose head, which he now constructs into a sphere around which a myriad of fish-and-crayons hang, haunts her memory. And there is a letter from the future to the future artist, which serves as an inscrutable commentary on the ecstatic conversation between the various women who do the walking in the fantastical boudoir, all of whom are on the verge of happiness.Here, the promise of some reader-readings (the artists initials are no longer an explicit sign of identity) lies at the heart of the project. Meanwhile, in the plaza of the Pantheon, there are also the present-day ghosts of the man who, as a ticket-seller on the boulevard du Panthéon, bought the rights to carry out the assassinations of his colleagues for the sake of political gain. In the same spirit, René Magritte and Marcel Duchamp, still well-known apparitions. A former nurse and artist, a father figure of the current generation of French post-Surrealism, are seen all over the place; there are simple anthropomorphic forms like the works by Randé et Lecomte on the stairs of the National Gallery of Art (1999), or grisly ones like E. T. A. Hobsburds February, 1986, or his demolished still-life sculptures of watermelon halves, the fruits of a weeklong battle between the artist and the nurses union that ended in a strike that led to the death of one of the patients, a maladroit, expensive cameraman who was killed by a stray bullet in the clashes. This time, too, all seems fair in love.

Result #4

that no one wants to part with, runs away like a fool, only to have the last laugh by jumping on the back of a drunk. The blow job is real and it happens on the street, not in a coffee shop. The other guy grabs a balloon and sings a song while the comedy bits are looped to the tape, causing the balloon to fall to the floor. The guy who ran away in the first film comes back and continues, singing. He is not really so funny, but he is good at his job. The other man has no idea that he cant catch up to them. Who is going to catch them? They arent coming back.

Result #5

The gangstar with six finger walks throug the room chasing the inner dream of long-suffering soccer-league dads. His pen hovers over the postmark-man. He keeps the pen like a religious symbol of faithfulness in the hands of those who have spent their lives seeking the spiritual; they all find it. He is a theatre artist, a conjurer, and a painter with a gift for molding space. His aesthetic is ritual, a lens of illumination. The rigidity of his composition recalls the history of painting, particularly the conventions of Impressionism. He reenacts the formative moment, the event. Isnt that a coup de théâtre? It seems so.Rubins retrospective, which occupies the Guggenheim Museum of Art, is a timely one. It engages contemporary art history, contemporary and historical art theory, and the history of art as art. The exhibition is critical, a little heavy-handed, a bit heavy-handed. Why? Theres a whole cottage industry of art historians and archeologists, of people like John Baldessari, who have devoted years to the study of the self-portrait. Theres an art historical tone that there are no clichés or identity markers to fall back on. These characteristics all affect how we see art. And theres an implication that these archeological impulses are going to be lost.Not quite, but Rubins show is an authoritative one. It resonates with the current mainstream art discourse, whose popular language is critical rather than critical, not merely political. That discourse is irrelevant, it seems, to the production of an art. It is essential, as Rubins show demonstrates, that we consider the ontology of art, of a particular time and place. Its a prerequisite for an art to be an art, it is essential that we recognize and understand our relation to the past, our relation to the present, our relation to the future. It is important for us to become aware of our own place in relation to history.