3/12/07

Doomsday Celebration

castillo/corrales
65 Rue Rebeval 75019 Paris
15-17 February, by appointment until 23 March 2007
DoomsdayVito-Accon
We had heard the gallery didn’t send out invites, which were mainly by word-of-mouth. I understood almost nothing and didn’t recognise any of the works when I first saw the exhibition at castillo/corrales gallery. Then the gallerist brought the show to life with a friendly twenty minute narration about the artworks: in Jay Chung’s there was no film in the camera over the two years the movie was made (the actors got mad), in Vito Acconci’s a girl tried to kill herself after a three-way-love- experiment failed in 1970, in Maurice Girodias’ novel about Henry Kissinger, a girl who planted drugs on the author went suddenly missing before he was arrested and deported, and in Gardar Eide Einarsson’s poster after every absence there was a blank. Yesterday a well-known critic told us that she rarely actually sees an exhibition she writes about (ahead of time) for art magazines because of deadlines. Then the gallerist had told us that this was the last show of the gallery and they would now work towards the first because they would start by being exhausted and knowing, as in this one, and end with the first being fresh innocent and optimistic about the gallery’s future. So SPEECH decided to invite ten people (read the reviews) to write about Doomsday Celebration without having seen the exhibition that took place from February 15-17. This is part of a series of reviews about not-knowing as a shared space.
Geoff Lowe
read texts by Pelin Uran, Rosemary Forde, Nadia Fartas, Cecilia Canziani, Elizabeth Presa, Hao Guo, Judicael Lavrador
DoomsdayWhen-where
images:
Vito Acconci Score 1970
Jay Chung Nothing Is More Practical Than Idealism 2001

1 Comments:

Anonymous Garry Gray said...

Doomsday Celebration

It seems quite normal to be reviewing an unseen exhibition.

Reading critics' reviews often renders the notion true ie: "did the critic see , hear or read the same thing that I invested my own time in to discover for myself?"

Was the critic seeing the artform through the eyes of a neo-facist, a marxist, a feminist, a mysoginist, a shoe salesmen.

The Doomsday Celebration exhibition exists, apparently within 4 walls. If this is its own considered realm then it can only miss the point: which is that the DOOMSDAY CELEBRATION exists everywhere else: it is the engine of television and mass media; it is the objective of governments and corporations; it is the plasma television that you have always wanted; it is the soul mate you'll never meet; it is the fabric of your existence.

Go check it out!

8:09 PM  

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