Make no mistake this is a corporate and political age, and terrible because of it. The hook, line and sinker acceptance of these modes obscures the pathways to all truth — what is the truth(?!) that there is no truth — there can only be engagement, artistic speculation and (hopefully dignified) compromise.
All the corporate and political leaders have is fear — inward and outward facing. They trick us into engaging and believing in all sorts of endless, pop-up, embroidered oblivions — making us forget that we all have our very own tailor made apocalypses waiting for us — and don’t need to be dependently mollified at all times, from theirs.
These political and corporate modes have no poetry, no curiosity, no dérives, no joy, no ability to thrive without winning (as if) and control (🙃). Only fear-born, false certitude.
It is in contrast to this political and corporate panic merchandising that the artistic impulse (the utility of speculation) is revealed in its proper defiant significance — “all art is useless” that it why it is useful, it doesn’t pretend omnipotence.
Why does Rick Owens have an sarcophagus at the terminus of one of his hallways? Perhaps it’s because he doesn’t know what life means and allows himself to be confronted by the ravishing inscrutability of death.
Why did Donald Judd make furniture of physically excruciating right angles? Hardly because of function. It was to lyrically and elegantly intimate beautiful but impossible order.
Why does Marquel Williams have a massive blunt, i-beam, angling out of the floor to over-support the back of his “Beam Club Chair”? Perhaps to actually feel a gesture in a world of many vague, bland and interminable gestures... To us, the design is metaphysical not ergonomic.
Imaginative acts are beautiful when they flirt with function.
Also of sincere interest is Marquel Williams’ other deep project:
instagram.com/archived / archived.co
All the corporate and political leaders have is fear — inward and outward facing. They trick us into engaging and believing in all sorts of endless, pop-up, embroidered oblivions — making us forget that we all have our very own tailor made apocalypses waiting for us — and don’t need to be dependently mollified at all times, from theirs.
These political and corporate modes have no poetry, no curiosity, no dérives, no joy, no ability to thrive without winning (as if) and control (🙃). Only fear-born, false certitude.
It is in contrast to this political and corporate panic merchandising that the artistic impulse (the utility of speculation) is revealed in its proper defiant significance — “all art is useless” that it why it is useful, it doesn’t pretend omnipotence.
Why does Rick Owens have an sarcophagus at the terminus of one of his hallways? Perhaps it’s because he doesn’t know what life means and allows himself to be confronted by the ravishing inscrutability of death.
Why did Donald Judd make furniture of physically excruciating right angles? Hardly because of function. It was to lyrically and elegantly intimate beautiful but impossible order.
Why does Marquel Williams have a massive blunt, i-beam, angling out of the floor to over-support the back of his “Beam Club Chair”? Perhaps to actually feel a gesture in a world of many vague, bland and interminable gestures... To us, the design is metaphysical not ergonomic.
Imaginative acts are beautiful when they flirt with function.
Also of sincere interest is Marquel Williams’ other deep project:
instagram.com/archived / archived.co