zizekian modalities amidst post fordist presentations
zizekian modalities amidst post fordist presentations of the ruins. Like the young artist described above, Hanka was attracted by the figure of the ruin itself—in other words, by the very condition of those ruins—and thus made a virtue of that condition. Yet the artist seemed to draw the line of abandonment in the same way as her new compatriots in the arts, with whom she identified with minimalism. This turn to the periphery was exemplified by the show as a whole, which consisted of the well-known, but much less famous, artists of the 1970s.Like another of the artists of the 70s, Adrian Sander, Hanka has explored the political dimension of design. A decade before her breaking through, though, her works in bronze had been called agitprop and her work on paper, showing her having herself been a Marxist, had been called art. Then the agitprop impulse on her part returned: She made a video, I am a Marxist, which she made with the composer and actor Manuel Alvarez. It showed her wearing a communist uniform and sitting in front of a video monitor. She recited some of her revolutionary statements while addressing herself in English, but she didnt understand Spanish and was not entirely sure what she was saying. For her part, Alvarez cast the video as a ruse, stating, You cannot be Marxist. Hanka approached Alvarez, who translated her words into German, and asked him to explain it. Here, as in her recent show, she used an allegorical power structure. Alvarez spoke of hooliganism, and of the men in white suits, and the effects of being violated, and of the issue of gender relations in the art world. Hanka became the most prominent woman in the video, and, in the face of Alvarezs sexist rants, an outstanding one. In this way, she worked to bring down the curtain of political correctness, which has remained a mask in her hands.
, and the unexpected picture-objects, four-inch-high, of pure and dull white from the display cases of Hong Kongs Art Gallery as Art—these were a good set for an art show in Hong Kongs often strip-tatured market of art-tastefulness.
. Two years later, a pair of works for a gallery in Amsterdam (which had already done an atmospheric installation for the Kunsthalle Wien) combined a running (and a standing) Death to the demon, with a scrawled message I AM DYING. This piece was titled I am dying (The eyes are dead, 1974), but one could easily be mistaken for a poignant denunciation of the dissolution of the art world and a critique of post-Modernism as such.
zizekian modalities amidst post fordist presentations. The artists stayed away from the white cube, opting for an unabashedly folk art approach. Thus, Tallas decided to do something similar with white plaster objects (his favorite material), which she painted over with her own blood. Picking up on the main theme of the exhibition, but in a more intimate and romantic mode, such as the installation Of what is significant, 2014, the exhibition traced the exhibition of her life on the road in India in 2012 as it revolves around her health and the later movements of her fetus.The first section, Life as a man born to a mother and father (The Bible), consisted of photographs of Tallas herself, posing nude in the studio, wiping tears of perspiration, and pushing a large milk crate into the gallery floor. In the same manner as she used her own blood to make the casts in the room, she continued her documentary of the artists own journey to the country to give birth to a son. One of the photographs is titled Born to be a man, 2014, which shows Tallas, wearing a sleeveless white shirt, reading the Bible, performing a kind of bravura kiss of destruction on her own c-print of her bare ass, which she cut in half, the symbol of her struggle with the apocalypse.The final section, Interval and Creation (Tealies as a prophet), 2014, featured two seemingly disparate clusters of photos, each depicting Tallas in the studio and the studio of a different man. They were set against photographs taken in the artists native country of Bangladesh, depicting her with a message paintbrush in front of a rainbow flag. These are some of the only subjects of this painting, the ones that were present, for instance, in the color photograph of a telegraphed rally held at Tanjatjila Square in Dhaka, Bangladesh, in 2009.
and multimedia performances.The exhibitions title, Anywhere Out of the World, is a quotation from another kind of contradiction: the tension between the primacy of capitalism and of postmodernity, as demonstrated by the fact that it operates in every part of the world, and the primacy of the right to dissent, as exemplified by the question of artistic expression. But the show also exposed the alternative possibility of capitalist globalization. The exhibitions title was a playful, koan-like instrumentalization of the historic French as if the countrys colonial history, but filtered through a cosmopolitan European gaze, constituted the ultimate struggle against global global capitalism.The exhibition was divided into two parts, each with a separate curator. In one section, The Place of the Fictitious, the title of a work by Tarsia Schiele, was used to set the scene for a group of four discrete installations by this German artist. In the second section, Polishing Life, a multiscourse installation of works by more than thirty artists, made clear the ideological root of the universal renunciation of traditional identities. The show's call for a renewed sense of pluralism, which is fueled by the hope that globalization will eventually reveal itself as a mechanism of global production, remains a hopeful aspiration. The exhibition was an encouraging meditation on the currents of global art, and on the possibility that artistic engagement with global issues can generate a new paradigm, a new set of possibilities.