At 4000 AD/ When science and art are entirely/Melted together to something new/When the people will have lost their remembrance/and thus will have no past, only future/…Then they will live in a world of only/Color, light, space, time,sounds and movement/Then color, light, space time/Sounds and movement will be free/No Music/No Theater/No Art/No/There will be sound, color, light, space, time, movement ( Stanley Brouwn )
And now a message from our sponsors.Call it feeding your head. Altering the message flow to the brain through infiltrating and subverting convention of the well-worn, market tested realm of commercial media. Call it alternative expressions of the relationships between time and space, or metaphors on vision. These subvert traditional linear assumptions on camera frame movement and its spatial relationships.”Normality is, more or less, a well-managed form of what is usually regarded as its opposite. Thus, sanity as a kind of gentrified madness; madness not simply being an accidental derangement of reason but an essential, original possibility of human existence never fully overcome”. (Aaaron Shuster, Frieze Magazine )
Called advertising ”interventions” or ”interruptions”, they often depict, reflect and express the existential violence of the urban landscape in all its absurdity.Certainly, its a grenade toss, a metaphorical improvised explosive device at the reactionary cult-of-the-precious-object-in-the-gilt-frame mentality, which is the principal foundation of the traditional art game and its legions of museum wallahs, art-gossip mongers, forgers, fakers, phony art teachers, crooked dealers, greedy investors, culture hawkers, and innumerable other art et ceteras.
Its about questioning the notion of the accepted state of ”purchasing” the public sphere. That public space is a commodity to be bought and sold as a commodity and not integral to personal rights and freedoms. Public space viewed like airwaves or print media; to be cut, pasted and sold as rate per unit of measure. This invasion is violent. Advertising acts as a filter and channel between desires – those of the buyer and those of the seller – meeting in public space. The discombulation is sometimes termed fauxvertising, and is a semiotic attack on consensual reality. Regarding these interventions into the sensory auto-pilot, you appreciate how blunted by convention and habit these encounters can be.
” We Interrupt This Program” exhibition brings us artists who have tinkered with that, ingeniously mimicking advertising to subversive ends, or creating interventions into the media flow that comment on or resist its compelling capacity for diversion, affirmation and seduction.This often done with comic effect, by breaking the flow. Conceptual representations that are or formed the base of television viewing before the medium became flattened and expanded. Other artists, like Los Angeles’s Chris Burden, copy the look of TV to subvert its authority, as he did in Chris Burden Promo (1976), broadcast intermittently in L.A. and New York. Here, he simply presented the names of famous artists in succession (Vincent van Gogh, Rembrandt, Michelangelo etc.) along with his own name, using a colourful balloon typeface suggestive of discount advertising. Placing himself among the greats, he razzes consumer culpability.
That story is one of ambivalent conflict, summing up many of the problems and triumphs of the avant-garde: how it depends on and conflates promotion and meta-promotion, branding and meta-branding, not quite wanting to explode the systems onto which it ties deconstructionist bows. Yet, it still runs counter to the art gamesman’s dream of educating the masses to appreciate the precious object sort of art .There is nothing new in this. The Dadaists said the same thing almost 90 years ago; and the Neo-Dadaists, New Realists, Pop artists and so on , in spite of their protests to the contrary, have in effect simply carried on where the old brigade left off.