Zarina + Gabrielle, 21st Feb 2k16

Exhibitions (by exhibitions we are pointing our fingers at white cubes, k) are inherently geared towards specific identities. If you haven't read Nirmal Puwar's 'Space Invaders,’ I urge you to read it as a follow up to Brian Doherty's text ~ I wish I could prescribe reading to White Artists because I understand that sometimes things are way out on the cold edge of someone's periphery. And, although when I was younger and more militant I would have written that someone off, now I am more willing to accept that I don't know much about, say, queer politics. < I'm not emblematic of equality so I should forgive and not punch people who, like me, are unaware. > Having said that, the white cube format is oppressive and that is the kind of blanket statement I'm comfortable making. Trace Programme might have been framed by the informality of a skatepark, but it didn’t successfully invert or disrupt white cube (big F) Formalism. We have to pick at this scab because the press release read 'art in an age of austerity can speak to realities experienced by everyone.’ Uh, false universalism, we call bullshit. Like, is that line just pandering to Arts Council funding? The work was narrow, like dude, so art bro.

 

It’s hard because the informality of the show was charming, too. We believe it wanted to do good (in the world) but we gotta dismay that it didn’t open its arms to people of colour, women, people whose bodies don't fit, or fit but only awkwardly. IF IF IF we white-face ourselves, white-cube our beautiful heads, we can praise the informality as cheek, and a strategy that undermines this ol’ art lyf; then, the skatepark fits the bill. Neutrality unlocked, we can give sincere honourable White Pube @mentions to Richard John Jones’ reviving of lesbian bars, Kate Cooper’s twitchy gym bunny vidayo on the soft pressures of freedom, Michael Crowe’s Brechtian kitten calendars, and Ashely Holmes’ music video (who is also holding it down for us brown hoes). To curator Ruth Angel Edwards, we sympathise with the late venue change nightmare, but the space became oppressive and it wasn't the artwork, but rather something intangible / (and these things are always hard to grab in your hands. You always catch them against ur fingers briefly and then let them go) / a shift, it wasn't meant to be that way, it just ended up like that.

 

… AND YET, and still, and anyway, why would we wanna white-cube-whitewash ourselves? It felt like we'd been dared into exploring the haunted house at the end of the lane, where a pasty white poltergeist had been spray-painting dicks on chipboard, and leaving fall-out dust over some treasures. All Male Shows are an acknowledged problem that the art world is staaaarting to (sometimes) work consciously against. We now need to start thinking about All White Shows. We need to start thinking about what happens when you claim a space is universal, for everyone, open access; but without ever having deconstructed the barriers that made Art Space exclusive in the first place.  

 

In one of the rooms, there was a screen between cupboards in a kitchenette showing a video of a freshly bathed dick. A sign to the side read PLEASE LEAVE THIS CANTEEN CLEAN AND TIDY AS YOU WOULD EXPECT TO FIND IT. fuckin art. FINAlly, to the kid we saw do really cool shit on roller-skates inside the park: we hope u have enjoyed your half term.

b͓̽e͓̽s͓̽t͓̽ ͓̽v͓̽i͓̽e͓̽w͓̽e͓̽d͓̽ ͓̽i͓̽n͓̽ ͓̽l͓̽a͓̽n͓̽d͓̽s͓̽c͓̽a͓̽p͓̽e͓̽
͓̽o͓̽r͓̽ ͓̽o͓̽n͓̽ ͓̽a͓̽ ͓̽d͓̽e͓̽s͓̽k͓̽t͓̽o͓̽p͓̽

{ 𝔱𝔥𝔢 𝔬𝔫𝔩𝔶 𝔯𝔢𝔞𝔰𝔬𝔫 𝔗𝔥𝔢 𝔚𝔥𝔦𝔱𝔢 𝔓𝔲𝔟𝔢 𝔠𝔞𝔫 𝔰𝔱𝔦𝔩𝔩 𝔢𝔵𝔦𝔰𝔱 𝔦𝔰 𝔟𝔢𝔠𝔞𝔲𝔰𝔢 𝔰𝔬𝔪𝔢 𝔬𝔣 𝔬𝔲𝔯 𝔯𝔢𝔞𝔡𝔢𝔯𝔰 𝔠𝔥𝔬𝔬𝔰𝔢 𝔱𝔬 𝔰𝔲𝔭𝔭𝔬𝔯𝔱 𝔲𝔰 𝔢𝔞𝔠𝔥 𝔪𝔬𝔫𝔱𝔥 𝔳𝔦𝔞 𝔓𝔞𝔱𝔯𝔢𝔬𝔫. 𝔚𝔢 𝔰𝔬𝔪𝔢𝔱𝔦𝔪𝔢𝔰 𝔡𝔬 𝔱𝔞𝔩𝔨𝔰 𝔞𝔫𝔡 𝔬𝔱𝔥𝔢𝔯 𝔧𝔬𝔟𝔰 𝔟𝔲𝔱 𝔓𝔞𝔱𝔯𝔢𝔬𝔫 𝔦𝔰 𝔥𝔬𝔴 𝔴𝔢 𝔤𝔢𝔱 𝔭𝔞𝔦𝔡 𝔣𝔬𝔯 𝔱𝔥𝔢 𝔞𝔠𝔱𝔲𝔞𝔩 𝔴𝔯𝔦𝔱𝔦𝔫𝔤 𝔥𝔢𝔯𝔢 - 𝔱𝔥𝔢 𝔯𝔢𝔳𝔦𝔢𝔴𝔰 𝔫 𝔞𝔯𝔱 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔰 𝔞𝔫𝔡 𝔰𝔬 𝔬𝔫. 𝔄𝔫𝔡 𝔦𝔱'𝔰 𝔰𝔬 𝔦𝔪𝔭𝔬𝔯𝔱𝔞𝔫𝔱 𝔱𝔬 𝔲𝔰 2 𝔱𝔥𝔞𝔱 𝔴𝔢 𝔠𝔞𝔫 𝔰𝔱𝔞𝔶 𝔦𝔫𝔡𝔢𝔭𝔢𝔫𝔡𝔢𝔫𝔱 𝔠𝔯𝔦𝔱𝔦𝔠𝔰 𝔴𝔦𝔱𝔥𝔬𝔲𝔱 𝔱𝔦𝔢𝔰 𝔱𝔬 𝔟𝔦𝔤 𝔣𝔲𝔫𝔡𝔢𝔯𝔰 𝔬𝔯 𝔦𝔫𝔰𝔱𝔦𝔱𝔲𝔱𝔦𝔬𝔫𝔰, 𝔭𝔲𝔟𝔩𝔦𝔠 𝔬𝔯 𝔭𝔯𝔦𝔳𝔞𝔱𝔢. 𝔗𝔥𝔞𝔫𝔨 𝔶𝔬𝔲 𝔣𝔬𝔯 𝔟𝔢𝔦𝔫𝔤 𝔬𝔲𝔯 𝔬𝔩𝔡 𝔱𝔦𝔪𝔢𝔶 𝔭𝔞𝔱𝔯𝔬𝔫𝔰 - 𝔴𝔢'𝔩𝔩 𝔡𝔬 𝔬𝔲𝔯 𝔟𝔢𝔰𝔱 𝔱𝔬 𝔭𝔯𝔬𝔡𝔲𝔠𝔢 𝔮𝔲𝔞𝔩𝔦𝔱𝔶 𝔬𝔲𝔱𝔭𝔲𝔱; 𝔴𝔯𝔦𝔱𝔢 𝔰𝔱𝔲𝔣𝔣 𝔱𝔥𝔞𝔱 𝔦𝔰 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔣𝔲𝔩 𝔞𝔫𝔡 𝔰𝔦𝔫𝔠𝔢𝔯𝔢. }

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