PETER LIVERSIGDE @ KATE MCGARRY

ZM&GDLP 12/2/17

😐 😐 😐

Our goodest friend, HP, has this wonderful way of summing up cultural appropriation in the arts. HP acts it out with a wonderful tableau; mimes picking something up (the hottttt topic), holding it in their hand, nose in the air —— ‘i think i’ll take this one’,-,-,-, n then casts it aside. HP calls the action: vvvvv colonial (it so is). And white artists think they are entitled to pick things up like this - pick any topic that’s HoT hOt HoTtT & use it {for soft capital: social, cultural, intellectual} regardless of agency, right to speak, who they’re talking over, who they’re robbing, and regardless of their own position REGaRding the questions that arise as a result of them using some hot stufffff in their art etcetcetc. Lessbe honest, minority culture has always been ~cool~ (i am v interested atm in the idea of ~coolness~ esp in relation to streetwear n creps, bc of these reasons) that whole thing about subculture leaking into the mainstream //// the mainstream robbing minority cultural creators oF thEiR

CREATIONs. White artists ca$h in on this ! 👏🏾  every! 👏🏾  single! 👏🏾  god! 👏🏾  damn! 👏🏾   day 👏🏾👏🏾

In a darker twist; it can also be a performative vacant nod towards ur own white/cis/het/ male/whateva guilt without having to take responsibility for ur own complicity/position in any of ^^^ the above.

 

 

 

 

 

 

 

 

 

U perform ur self- deprecation to appear good instead of taking responsibility for ur privilege. But in picking these topics up like slippers: u literally just are exercising ur privilege. We have been thinking about this a lot this past month; and we have been thinking about HP’s re- enactment always always bc this process is pinching and violent.

Peter Liversidge’s show at Kate McGarry gallery did thissssssssurghhhh.
There is a letter on the wall as you first walk in like contextual small print that guides u and says this is an exhibition about the phenomena~ practice of looking for faces in everyday things, which is fine and funny because just the day before we had been driving on the motorway and there was a big van that looked like it was looking at us. Ye okay. Except 1. this wasn’t an exhibition of sculptures and images that had incidental faces in their spirit, that for the record would have been much more interesting tbh bc encounter in art is so nice to witness. well anyway, Instead, the artist had carved and poked and collaged his own emoticon eyes and mouths into objects. disappointing yeah - but the things the faces were on!!, that is what bothers us : : : There was a grid of A4 pages of ~exotic~ places and people on the wall ripped from a fucking Thomas Cooke brochure by the looks of things, images that included a mosque minaret, over which Liversidge had stuck two eyes and a mouth. He had done the same to ~exotic~ rugs, hanging them on the wall because the artist can pick things up, inscribe their YT signature TM on it, and turn an item into art through signature. they take it for their own. n no one questions what he’s done to the chosen canvas (but we doooooooo lol). like WHYYYYY COULDNT U HAVE JUST STAYED IN YOUR LANE ANd put some googly eyes on a shagggggy rug or a bath mat idk. Put some funny eyes over white people and bread.

o also, there was a bloody neon wasn’t there. of course there was.

 

Why hasn’t Peter Liversidge been asked about the colonial way he’s picked these things up and then not addressed them anywhere. is that silence privilege???? to be able to pick up topics that have the baggage of alterity, that brown artists are pigeon-holed with;;;;; and then, as a YT artist, to be able to speak about that thing neutrally =blase= =c=a=s=u=a=l..... fucks sake :)

 

Fam, how am I supposed to look at this without thinking about all of the above?

idk why i went lololololol.

 

! it’s a bloody epidemick.

 

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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