Wednesday, November 11, 2015

Rejected Proposal, Firstdraft 2015/2016

Z.O’Mahoney~ Framework (Whitewash),
a proposal

The phenomena of “Contemporary Art” are treated as distinctive only of a certain era, a time in which a pure universal can be ascertained through unprecedented connectivity and a truly global ethos; in this way they reveal themselves as yet further incarnations of a myopic European and Patriarchal machine driven by market forces.
The wider Australian public is notoriously suspicious of art and artists, creating little room for even a modest livelihood for those who simply create paintings or poetry, as humanity has continued to do for millennia; thus the domestic University system encourages a kind of speculative art designed specifically to cater to the tastes of oligarchs (at least if one intends to be seen as critically engaged), works that cannot be afforded and displayed by the average person. There is no reason why these things should be mutually exclusive. The current Australian art market (not dissimilarly to other contexts) is governed by as cabal of the wives of wealthy industrialists savvy enough to have created the market for what they then redistribute. This does not imply that artists must continuously pander to the tastes of those who can claim higher authority by being in no way dependant on art as their livelihood.
The gallery would be divided into two spaces representing modes of exhibiting past and present. Dividing the space between the studio and that which is exhibited. The half of the space furthest from the door would present a fetishised and working artist atelier, replete with typewriter, easel, projections of past works, and the occasional intervention of self, work collectively titled “Living Room Set,” featuring paintings on (stretched) discarded bedsheets and matching furnishings, many of which will also be artworks. The space will house an ongoing salon, over the course of the month, which will feature a launch for the forthcoming artist publication “The Ban” (which may be read about in greater detail in my application for the writers’ residency program), as well as a series of guest lectures of aesthetic significance (in the area of politics and the sciences). This would be sectioned by way of velvet rope.
The half closest the door (the windowless half) would then be space for the exhibition of
“Contemporary” works, marble plinths encased in plinths of perspex, ornate gold frames encased
in perspex frames, a gesture towards the absurdity of minimalism and its implicit misogyny and eurocentrism, doing little but self-consciously acknowledging the context of exhibition in itself, as though it were the last gesture that would ever be made on the subject that somehow the human condition had never any place in an art that is purely placement. There will also be unobtrusive furniture in the vein of the larger institutions from which members of the public may view the happenings in the salon space.
Paintings and publications will be made and potentially sold, including this proposal as reterritorialised as a place for art above administration.