Tracey Emin Why I Never Became a Dancer, 1995
Youth. In a lot of creative fields, it’s rewarded. In visual arts…well…not so much. It’s a field in the arts that celebrates life experience and could even be said to festishize, to one degree or another, a fair bit of suffering — and let’s face it, most have to be well past the 20-somethings to begin to compete against those standards, leaving teenage angst to rock and roll. Sometimes teenage angst does break out of music’s territory and into the gallery, though, and Why I Never Became A Dancer at Munich’s Haus der Kunst presents 15 videos by international artists to prove it.
The name Private Collection alone conjures up all sorts of ideas of privileged and intimate access to things that, on any normal day, we might not even know exist. It’s not just the private part, but also the idea of collection; whatever group of things we encounter was brought together by someone, and being privy to that selection will undoubtedly shine a light of reflection onto the collector. In the case of this exhibition at Vienna’s Krobath Gallery by Czech artist Dominik Lang, son of artist Jiří Lang, the insight and access we’re given does reflect the creator; these reflections, however, also create the work.
The festive season will make nostalgic fools out of most of us, and I reckon even cutting edge minimalists don’t stand a chance in Vienna. And why even resist when the old-world charm is presented with such elegance and proper Austrian poshness? Relax, take it in, and let the smell of fresh coffee, the sound of horses’ hooves on the cobbled streets, the sight of mink coats and hats at every corner — the most stylish of which undoubtedly from White Line Hotels’ Collaborator Mühlbauer Hutmanufaktur — not to mention the Christmas markets and a pre-dinner tipple of Glühwein at the renowned Café Bräunerhof, lull you into submission. Good job there was no snow or we would have become hysterical with pleasure and gratitude.
Vortex (Bringing It All Back Home), 2011
Jim Lambie’s fifth solo exhibition at Anton Kern Gallery in New York has been conceived as “one living organism” that inhabits the gallery space and, as is usual in his work, the artist conceived the exhibition especially for it.
Unless you’re using it as in the very inclusionary context of “my brother from another mother”, most of the time signaling someone out as coming from somewhere else than where you come from becomes, to some degree or another, a confrontational act. Let’s face it, people like to belong, and so much so that even if it’s an idea that isn’t working out all of the time, most also like to believe in the growing global community. The current cultural currency of that ideal of global community is never more evident than in recent telecommunications ads, and if you take their message at face value, buying that new phone or switching provider isn’t just going to put you in touch with people in every corner of the globe, that virtual net is the very fabric of a new and better world. Certainly owning these products won’t do anything to further the cause unless you actually use them to communicate with people in every corner of the globe, and not many will, but there’s still one question left hanging unanswered: is there any sincerity to it, or is all the “brother from another mother”-style inclusionary rhetoric just covering up the truly exclusionary nature of our times?