Zona MACO and Material, the fairs that ran more or less concurrently the first week of February here in Mexico City, helped synthesize a number of threads floating around in my mind since arriving here. Those threads: Boris Groys’s essay “On Art Activism,” published in e-flux shortly before I moved, a talk by Donna Haraway that a friend e-mailed to me, and the thought, in general: why do I give a shit about art? Do I even?
We arrived at Zona MACO an hour before it shut. I was surprised that I was there: a few days earlier, in an impassioned speech to Andrew Choate, I had said something like, you know, this fair is in this posh neighborhood that you have to own a car or a chauffeur or have a chauffeur who’s driving your car or whatever to get to, it’s only accessible to the very rich, fuck the rich and fuck their art, they can keep it. So anyway, there we were, at MACO, the phenomenal lighting making the average MACO-goer’s Lacoste polo shit look gorgeous and my oil-stained clothes look ratty as hell. We moved fast, visiting only galleries where one of us knew somebody. I didn’t think about anything or really look at anything: Maurício Ianês at Y Gallery was visually striking but maybe a little hamhanded, but then again given the subject matter maybe it’s ok to be hamhanded, maybe nothing else will ever work; Debora Delmar Corp at DUVE Berlin was actually kind of beautiful in person, although I guess I can see why some jackass gave it “worst of MACO,” because, I don’t know, no marble? no expressionist lines? who cares, I’m sure that guy would prefer a show of staircase pineapples thickly streaked with paint or blood in a really emotional way; at Chert, Petrit Kalilaj was a little scattered, but also maybe hilarious and heartbreaking; I heard a funny story at Gaga and wondered how Labor won the 1800 Tequila prize and what that meant—how it would affect my life. Then we left past an army of art handlers ready to pounce.
A few hours earlier I had been at Material, the satellite fair that first happened last year. I had no thoughts at Material, either, I was too hung over and tired. I didn’t have the coffee I needed until after I left. I talked to people, which I usually don’t. I talked to Aaron Harbour and Jackie Im and liked how weird and gross but also really appealing Chris Hood’s paintings were; I talked to Steve Kado at Kunstverein Toronto and was totally freaked out by how similar his speech pattern is to another Canadian I know; I talked to Travis Fitzgerald and Josh Pavlacky at American Medium, who were extremely congratulatory and very friendly about a performance I had done at Bikini Wax the night before, two stories above a great video by Skip Arnold—not the one below. It was also the only show/booth/experience I spent more than ten minutes in during the entire week. Anyway, I didn’t talk to anyone at Queer Thoughts, but I wondered if their desk was intentionally positioned in their booth such that you couldn’t really look at David Rappeneau’s drawings without putting your ass in someone’s face. Everybody I talked to, well not everybody but a sizeable sample, mentioned that both sales and attendance had been slow, and either Travis or Josh said something like, “I don’t know why they even call this an art fair, they should call it something else.” For this sizeable sample, it seemed like the opportunity and experience to meet other people interested in similar art, to talk and hang out and party or decide not to party, was as or more important than actually selling anything. Then again, everybody needed to sell things.
I guess it’s kind of like how it’s more fun to have a drink with your friends than go to your mind-numbing day job. Or how it’s more fun to have a drink with your friends than stab yourself in the eye. How it’s more fun to have a drink with your friends and talk with them like they’re people you want to talk to than it is to have a drink with your friends and talk to them like you want them to buy something from you. People who I either knew or had established a friendly-level acquaintanceship with apologized for “giving me the spiel,” which I identified with, having worked for a year selling wine, which involves a similar kind of activity.
Wine is vastly more enjoyable, or more able to be enjoyed, if you know what the hell is going on with it: where it came from, what grape(s) it’s made out of, what year it’s from, what things taste like from that place, from that grape, from that year. It helps also to know how it was made, using what process, where the winemaker used to work. You have to spend time reading, learning, tasting, feeling like an asshole for not knowing, feeling like an asshole for knowing, that kind of thing. It’s certainly possible to have a good time with a glass of wine knowing nothing at all, but in order to have a great time, to have an interesting perceptual experience or a moment where you feel like you are suddenly the fucking king of everything, a feeling which wine is uniquely qualified to deliver, you have to know stuff. Sometimes it’s also nice to know little narrative bits, too, you know, how these winemakers make a big deal out of paying their grape-pickers fairly, or how this is the only woman wine-maker in her region, so on and so forth, but this sort of narrative is usually reserved for the selling of wine, by winesellers like I used to be, and is usually delivered in the same tone of voice, with the same cadence, as the art spiel.
Which I guess is why I’ve been wondering: what differentiates a photograph from a bottle of wine? A painting from an antique chair? Why do I think that an artwork is different, exists on a “higher” plane, than a humidor? A year ago, I badmouthed an LA gallerist for having a side business selling antique furniture. I perceived the proximity of the antique furniture practice and the gallery practice as some kind of affront, some kind of insult to art. Like art belongs in a different moral/ethical universe than chairs, or wine, and treating it as if it were the same kind of lifestyle commodity is somehow dirty. Now I’m not so sure. Maybe it’s a good dirty.
In “On Art Activism,” Boris Groys draws a distinction between the aestheticization art performs versus the aestheticization design performs. For him, design takes the tools—a hammer, a speech, whatever—of the status quo and makes them more attractive, more usable. Now you, too, can get rich making videos on YouTube advertising our products! That kind of thing. Art, on the other hand, takes the status quo and presents it as a relic, as something already dead, useless. For Groys, this lends art a degree of political agency insofar as it treats the status quo, which is always impossible to imagine ending, as already over, a fossil. In Donna Haraway’s conception of our current epoch, the “capitalocene,” ruled and primarily defined by the processes and logics of capitalism, the production and exhaustion of fossils is paramount. What for Groys is the possibility of political action for art against the status quo, is for Haraway is the very fuel for the status quo. I’m tempted to believe them both: while art has the potential to cause problems within the status quo, it is ultimately an integral part of it, consumed, traded by, conferring status upon a small superrich class that controls the vast majority of the globe’s wealth, right alongside furniture (also a part of Zona MACO), boutique alcohols (also a part of Material), and so on.
I’m wondering, actually, if maybe this idea that art has some kind of actual political efficacy, that it can “change the world,” is maybe the last vestige of the sort of 18th/19th century romanticism that moved art somewhere—up, definitely—different than, say, furniture or wine, that it delivers something different, something more, something to do with morality, something to do with ethics in a conception of “the world” that assumes it to be homogenous, somehow able to benefit uniformly from a single given action or idea that moves—ineffably, certainly—from the particular to the universal, a movement governed by a set of rules, standards of taste, beauty, and judgment, that it was assumed every “good” work of art, or “good” person, could be shown to follow.
At the outset of “On Art Activism,” Groys dismisses claims that activist art is bad because it is “bad art” — that is, it looks bad or doesn’t exhibit technical mastery. “In the twentieth century,” he writes, “all criteria of quality and taste were abolished by different artistic avant-gardes—so, today, it makes no sense to appeal to them again.” If MACO and Material made me feel anything, it is that I hope that the avant-gardes of the twenty-first century can make equally obsolete the idea that an artwork can or should have some kind of ability to move itself and/or its viewers into some kind of universal realm of political agency, because there is no “universal” any more than there is “the world,” and any politics that depends on the universal—”the world”—is necessarily self-defeating. I hope that we can forget the Enlightenment and become total fucking idiots or squids or cyborgs or really anything non-Enlightenment-human, and try something else, because that shit did not work at all.
Work by Andrew Borowiec, Terry Evans, Juan Fernandez, Jason Reblando, Ross Sawyers, Chris Schedel, Greg Stimac, and Bob Thall.
Northeastern Illinois University Fine Art Center Gallery is located at 5500 N. Saint Louis Ave. Reception Friday, 6-9pm.
Work by Ama Iromuanya and Alex Leasure.
Outhouse Gallery is located 212 N. Sangamon St. Apt. 3B. Reception Friday, 7-10pm.
Works by Paté Conaway and Whitney Bandel, Daniel Giles and Andrew Mausert-Mooney, Ruth Hodgins and Charles Rice, Steven Husby and Sarah Anne Lobb, Cole Pierce and Josué Pellot, Kit Rosenberg and Jameson Zaerr, and Nancy Lu Rosenheim.
Roman Susan is located at 1224 W. Loyola Ave. Reception Friday, 7-9pm.
Work by Lucie Stahl.
Queer Thoughts is located at 1640 W. 18th St. #3. Reception Friday, 6-9pm.
Work by Lou Shields.
Beauty & Brawn Art Gallery and Think Space is locate at 3501 W. Fullerton Ave. Reception Saturday, 6-10pm.
Guest Post by Britton Bertran
I didnâ€™t get out to see a lot art in Chicago this year as I was too happily busy being a Dad to the best little boy in the world. Â Nonetheless, here are some lists of what I did see, what I didnâ€™t, some predictions and some things Iâ€™m anticipating.Â I know we all have a love/hate with these kinds of lists, but this should be pretty easy to digest.Â Click on those links.
Exhibitions I saw:
- Amalia Pica at the MCA
- Fragment: Sampling the Modern at the Elmhurst Art Museum
- Wendy White at Andrew Rafacz
- Andrew Holmquist at Carrie Secrist Gallery
- David Salle: Ghost Paintings at The Arts Club of Chicago
- Vivian Maier
- EXPO Chicago
- AICâ€™s Modern Wingâ€™s closed 3rd floor
- The Way of the Shovel at the MCA
- Chicago Sculpture Internationalâ€™s Sculpture on the Boulevards
Exhibitions/Events I didnâ€™t see:
- RH Quaytman at the Renaissance Society
- Medium Cool
- Steve McQueen at the AIC
- Matt Nichols at Corbett vs. Dempsey
- Mike Andrews at The Suburban
Anticipating in 2014:
- The Whitney Biennial
- William J. Oâ€™Brien at the MCA
- Christopher Wool at the AIC
- Christopher Williams at the AIC
- A new permanent space for Threewalls
- The Whitney Biennial fails in the eyes of critics
- A major commercial gallery in Chicago will close, another will open
- A storied institution will lose itâ€™s curator
- A galvanizing work of public art will really piss people off
- A better year than 2013
Bio: Britton Bertran ran 40000 from 2005 to 2008. He currently is an Instructor at SAIC in the Arts Administration and Policy department and the Educational Programs Manager at Urban Gateways. An occasional guest-curator, he has organized exhibitions for the Hyde Park Art Center, the Loyola Museum of Art and several galleries. You can find him trying to be less cranky about the art world on twitter @br_tton. Â
Curated by Kirsten Leenaars and Jeroen Nelemans.
Aspect/Ratio is located at 119 N. Peoria St. Reception Friday, 5-9pm.
Work by Lauren Levato Coyne.
The International Museum of Surgical Science is located at 1524 N. Lake Shore Dr. Reception Saturday, 6-9pm.
Work by Lora Fosberg.
Linda Warren Gallery is located at 327 N. Aberdeen. Reception Friday, 6-9pm.
Work by Darja BajagiÆ’Ã¡, Michael Clifford, Maliea Croy, and Fraser Taylor.
Queer Thoughts is located at 1640 W. 18th St. Reception Friday, 7-10pm.
Work by Joseph Mault and Ben Regozin.
Alcatraz Chicago is located at 1000 N. Halsted St. Reception Saturday, 7-10:30pm.
Work by Jason Benson.
Queer Thoughts is located at 1640 W. 18th St. #3. Reception Friday, 7-10pm.
Work by Chiara Galimberti.
Julius Caesar is located at 3311 W. Carroll Ave. Reception Sunday, 2-5pm.
Work by Erin Washington.
Kirk’s Apartment is located at 2251 W. Cornelia #2. Reception Saturday, 6-9pm.
Work by Erin Jane Nelson, Carmen Price, and Claire Valdez.
Forever & Always is located at 1905 W. 21st Pl. Reception Saturday, 7-10pm.
Work by Gustavo Lacerda.
Catherine Edelman Gallery is located at 300 W. Superior St. Reception Friday, 5-7pm.