A FLOOR MAT MADE OF INTERWOVEN PINK AND YELLOW CABLE TIES \ The e-mergence of niche audiences and subsumption of former subcultures make speaking of a ‘contemporary neo-avant garde’ seem like just another tree house club with flimsy laminated membership cards. Awkward too is talking of ‘redemption’ and ‘rehabilitation’, as if swanning about with a magic ‘gallery wand’, tapping hosepipes, garden pots and spades to pop them both literally and metaphorically on a pedestal. But gratefully absent from the stilted conversation are words like commonplace, mundane, humble, familiar, ordinary, workaday, discrete, banal, and lumpen. \ The den of the post-readymade (after this, ‘PR’) is where factory objects reacquaint themselves to manipulation and elasticity, where industrial processes are folded into a prism of subjective touches. \ The PR, necessarily, hovers unsteadily between times. It is retro, it is past it, nostalgic and yearning. It is bored. But it’s also childish, excited, loaded, schizophrenic, looking towards something.
A SIAMESE EGG-SHAPED MASS OF DUST BUNNIES AND BELLY BUTTON LINT ON THE COFFEE TABLE \ There’s an odd balance achieved in what looks like a careless, taken-for-granted vacuuming up and grasping at whatever surrounds it, a promiscuity that is actually nuanced, experienced. The use of materials is a careful statement of a palette of influence, a site of comment. \ This is tired, maybe impatient, with the re-looking and re-appreciation of the object- the thing-in-itself has already been released, or at least we can’t presume ourselves to try and release it, so we might as well see if another in-itself altogether can emerge somehow. Beyond sense, an unformed language and nascent critique.