Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

Lucy McKenzie ⁞ 50 Shades

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Lucy McKenzie at Micheline Szwajcer



Artist: Lucy McKenzie
Venue: Micheline Szwajcer, Antwerp
Exhibition Title: 50 Shades
Date: September 6 – October 20, 2012

Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Micheline Szwajcer, Antwerp
Press Release:
For her first solo exhibition in Belgium the Scottish artist Lucy McKenzie presents new paintings comprising several series dealing with different aspects of how an artist processes and transforms source material, and the problems of relying on distance or ambiguity with ones chosen sources.
McKenzie’s work is expressed in many forms including painting, exhibition organization, writing, commercial design and illustration. Underpinning this pluralism is a desire to form new associations, where both appropriated and self-generated material combine to create a vision which is personal and critical of contemporary orthodoxies.
50 Shades takes its title from the E.L. James novel 50 Shades of Grey, a publishing phenomenon symbolic of women’s success within the field of commercial genre writing as opposed to ‘literature’. Another figure referenced within the exhibition is bestselling crime writer Agatha Christie.
The paintings on show depict in meticulous trompe l’oeil research into several themes; themes never intended to be realized into fully formed works because of their subject matters, which the artist deems inappropriate for exhibition because of their controversial natures. They deal with two areas closely tied to aesthetics; misogyny and the politics of the far right, and their treatment reveals something of how vagueness is used as a tool to avoid accountability when dealing with material likely to offend. This is particularly true when relating to subculture, in honor of which she will create a ‘Fascist Bathroom’ after the anthology of writing on post punk by Greil Marcus’ ‘In the Fascist Bathroom’.