This soundless video reflects the strange experience of going to the Jordan Wolfson exhibition at the Stedelijk Museum in Amsterdam and being in complete silence alongside lots of other people because the art experience must be consumed by headphone.
Artist Konstantin Bessmertny explains why the best artists are rich ones, citing Damien Hirst, for example. Mainly, rich artists are more likely to be pure in their artistic motives when they don’t have to worry about money. And, when they themselves are patrons or clients, they are more likely to make high-quality aesthetic choices. This clip is an outtake from a series of videos by me about Bessmertny’s exhibition at the Macao Museum of Art and is a tiny sampling of the artist’s extremely unorthodox and, sometimes, controversial views.
It’s the last 1-2% of best effort and attention to detail which engenders true loyalty when you’re building a business or brand. If a handful of people notice, it’s worth it; Now, after many years,
I reject the 80/20 rule; if you’re an artist, why would you ever live in the US any more, I asked Denise,
my friend, the music composer; besides the defunding of the NEA, Americans don’t fundamentally support the idea of building cultural patrimony, which makes it an unsympathetic home for artists, IMO; why is education necessary for good taste? And, if it is, what kind of education is required? I ask Denise why I should use Spotify; I don’t listen to music because I have no reliable means of discovering new high quality music; NO, actually, the real challenge is allocating sufficient time for music discovery; and that’s because I like music too much and can’t do anything else when listening to it; so, paradoxically, I don’t listen to any music at all; Denise reminds me that nothing can actually fill that (music) gap; because music can be accessed and appreciated without any prior knowledge or, as I put it, music can fill you, instantly; for that reason, I don’t like vocal music; in fact, it was Nietzsche in The Birth of Tragedy who was able to explain in words my dislike of vocal music.
Last day in Amsterdam: visit to Foam Amsterdam; Daisuke Yokota’s incredibly thought-provoking installation; skipped Eggleston because it’s about as interesting to me as David Hockney (NOT); how Dutch houses have slanted facades and hooks on the roof for hoisting furniture into the house, rather than using the stairs, because they are so narrow; Gavin Turk’s curated exhibition at the Van Loon Museum is disappointingly prosaic and mediocre; I mean, REALLY uninspired; our first lunch in Europe EVER without alcohol: was it too salubrious? Do we really need a museum dedicated to handbags? A last cocktail at The Dylan; stocking up on smoky fish at Schipol; Amsterdam recap notes (various).
(N.B. This film was originally formatted to fit a square Instagram frame.) A lyrical sculptural installation by Japanese photographer, Daisuke Yokota, of archival film suspended from the ceiling of photography museum, Foam Amsterdam, explores the relationship of image to its traditional photographic substrate, film, by dissociating image from its usual freight of associations – memories, culture, expectation. The three-dimensional installation through which members of the public can freely walk is also a metaphor for our relationship to imagery today: we are surrounded, even flooded, by it.
Sighted during a recent visit to the Hong Kong campus of SCAD (Savannah College of Art & Design), these handbag artworks by recent graduate, artist Jameid Ferrin, more than caught my eye: they stopped me in my tracks because they were an ironic and highly effective commentary on the excesses of consumer culture.
I recap the Viktor & Rolf retrospective at the National Gallery of Victoria in Melbourne in unreservedly GLOWING terms. If you watched Vlog #5, you will certainly understand why this tribute is well justified.