October 31 – December 23, 2009
So how did it happen, that we began to make “in-betweens?” We used to paint, photograph, and film. Now we do in-betweening like animators, filling the space in between things. Did Duchamp know that his dandy indifference would become aggravated indifference all over us? Or that Warhol becoming a machine will not show in a theater near you? Is it somehow possible to make history painting or at least an investigative report in a de-socialized time when the elite act in totalitarian, self-referential paranoia and the multitude in refractory, agnostic autism?
Cut 17: get used to a genocide taking place every 15 minutes.
Cut 18: the Organizer is not talking to you, me, or the other, but tweeting with itself via the network.
Marcaccio is on a primal philosophical examination of the nature of painting and art in the digital age since the early 1990’s. He has both love and rage for painting’s handicap state in the context of a permanent, low intensity civil war. This conflict is laid bare in tridimentional physical forms, materializing a sound bite of news that you can stumble over as you back up to look at a painting…or sculpture or video projection in a dark room.
This is a simple question of “How to.”
How to evolve a constructivist strategy within a gestural mood (action painting for the beholder)?
How to integrate a given, intricate hyper-media abstraction with a broad based, real brutalist materiality?
How to inform materials and give, not send, information in real space and time?
How to invite participation, not force or manipulate it?
The work explores these questions in material zombie forms. Just for you.
Text: Fabian Marcaccio 2009