{"id":3928,"date":"2017-02-12T23:31:26","date_gmt":"2017-02-12T23:31:26","guid":{"rendered":"http:\/\/ww.closky.info\/?p=3928"},"modified":"2022-02-13T10:49:11","modified_gmt":"2022-02-13T10:49:11","slug":"thursday-then-friday-then-saturday-then-sunday-then-monday-then-tuesday-then-wednesday","status":"publish","type":"post","link":"https:\/\/ww.closky.info\/?p=3928","title":{"rendered":"Thursday then Friday then Saturday then Sunday then Monday then Tuesday then Wednesday"},"content":{"rendered":"
\n
\nThursday 21 April 2016.
\nFound objects from a profusion of cultural backgrounds were displayed equivalently and without further comment.
\nThen different places and incidents collapsed together.
\nThen bubbles and droplets recalled microcosms in seventeenth-century nature-morte painting.
\nThen many lives of art highlighted its ability to simultaneously uphold and destroy illusions.
\nThen discrete marks held their own space, emphasizing their self-contained energy.
\nThen viewers began to assemble a complex web of formal relations.
\nThen trompe l’oeil techniques in oil paint mimicked heavy sculptural stones.
\nThen lush and eloquent images were perfectly constructed impossibilities.
\nThen using a homemade bath, 8mm, 16mm and 35mm black and white film emulsion was chemically destabilized to extract the filmic image and optical sound track from the reels of celluloid.
\nThen interrelated bodies of work fused history, anecdote, and artefact.
\nThen highly distinctive techniques moved between multi-layered pictorial spaces.
\nThen words, phrases and doodles, were traced with a finger.
\nThen a mysterious palimpsest of time and space contained visual echoes of disparate details.
\nThen the condensation on a windowpane became the means through which the eye glimpsed the scene within.
\nThen graffiti took on an almost spectral presence.
\nThen multimedia practice investigated the slippage between technological platforms and ways they are consumed and decoded in the social realm.
\nThen abstract\/semi-abstract, monochromatic forms, simultaneously re-engaged early 20th Century black and white cinema and the tradition of the Modernist monochrome.
\nThen the once duplicitous became whole.
\nThen boundaries were blurred by exchanges and transformations like the accuracy of radiocarbon dating continually being altered due to excess carbon entering the atmosphere from the burning of fossil fuels.
\nThen Friday 22 April 2016.
\nThen the image became less coalescent.
\nThen rollers and brooms were used to spread a soft palette of red, blue, green, and purple acrylic paints over unprimed canvases laid directly on the studio ground.
\nThen not only a potent subject matter but also a conceptual equivalent allowed to work.
\nThen incidental debris and textures beneath the canvas emerged as impressions during the frottage process.
\nThen through sculptural installations ephemeral notions of time, silence, memory, absence and dreams, resonated with imaginative tension.
\nThen an assemblage of plaster heads was installed like a mass of remains on the floor.
\nThen between homage, transgression and estrangement, the echo of the ancient world was charged with mystery.
\nThen new sculptures were made from hulking industrial parts.
\nThen distance between subject and object, the represented and the representative was collapsed.
\nThen rubber mallets, dildos, bowling pins and billiard balls reminded that these works exist in the physical, as well as metaphysical, world.
\nThen culture took imaginative leaps forward, postulating a world of stark angles and sawtooth synthesizers.
\nThen retro-futuristic archeological remnants referenced human culture and the natural history of planet Earth.
\nThen stacked columns of polyhedra formed in MDF populated the space.
\nThen aesthetic impressions were created by measures of force.
\nThen a series of natural stones were painted to look like M&M candies.
\nThen the gradual process was extended with visceral abstraction.
\nThen actual bubblegum corresponded in some ways to the questions of painting and historical representation.
\nThen image, time, sound and narrative fixed onto a canvas-as-screen became a kind of \u201cterminal projection\u201d of a \u201cpetrified cinema.\u201d
\nThen the visual games and enigmas that pervade Rococo and Mannerist painting were firmly rooted, formally and conceptually, within critical observations of our time.
\nThen Saturday 23 April 2016.<\/p>\n

(…)<\/p>\n<\/div>\n

\u2018Thursday then Friday then Saturday then Sunday then Monday then Tuesday then Wednesday,\u2019 2017,
\nNew York: AC Books. In \u20187 Days: My Art Life,\u2019 edited by Holly Crawford, pages 38-49.<\/p>\n

\n

Related work:<\/p>\n

\"Claude\u2018Entretien sur l\u2019art,\u2019 2022, (February 10) performance, Fondation Pernod Ricard, invited by Jill Gasparina, 35 minutes.<\/a><\/p>\n

\"Claude\u2018Exhibition Neo-Geo by Camila Oliveira Fairclough at 7 Clous, Marseille,\u2019 2021, press release, 7 Clous, Marseille.<\/a><\/p>\n

\"Claude\u2018The Armory Show 2006 Catalogue,\u2019 2006, in \u2018Outsourced Critics,\u2019 New York: AC Institute, edited by Holly Crawford (http:\/\/web.archive.org\/web\/20070202125557\/http:\/\/www.artcircles.org\/id90.html), p. 23-32.<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Thursday 21 April 2016. Found objects from a profusion of cultural backgrounds were displayed equivalently and without further comment. Then different places and incidents collapsed together. Then bubbles and droplets recalled microcosms in seventeenth-century nature-morte painting. Then many lives of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/ww.closky.info\/index.php?rest_route=\/wp\/v2\/posts\/3928"}],"collection":[{"href":"https:\/\/ww.closky.info\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ww.closky.info\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ww.closky.info\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ww.closky.info\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3928"}],"version-history":[{"count":0,"href":"https:\/\/ww.closky.info\/index.php?rest_route=\/wp\/v2\/posts\/3928\/revisions"}],"wp:attachment":[{"href":"https:\/\/ww.closky.info\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3928"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ww.closky.info\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3928"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ww.closky.info\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3928"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}