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 linguag

Judith Bernstein ⁞ Dicks of Death

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Judith Bernstein  at  Mary Boone

Judith Bernstein at Mary Boone
Artist: Judith Bernstein
Venue: Mary Boone, New York
Exhibition Title: Dicks of Death
Date: January 9 – February 27, 2016
Judith Bernstein at Mary Boone
Judith Bernstein at Mary Boone

Judith Bernstein at Mary Boone
Full gallery of images, press release, and link available after the jump.
Images:
Images courtesy of Mary Boone, New York
Press Release:
On 9 January 2016, Mary Boone Gallery will open at its Chelsea location Dicks of Death, an exhibition curated by Piper Marshall of historical and contemporary work by Judith Bernstein.
Dicks of Death, a Marine nickname for the processed beef franks included with beans, is so termed for its foul taste and similarity in appearance to male genitalia. The offensively flavored and phallic shaped food is Government Issue, served to soldiers in read-to-eat rations. Berinstein lifts this term to zero-in on the war-time phallus and to show us how aggression and patriotism is institutionally packaged to fuel political conflict.
This exhibition couples Bernstein’s politicized phallic paintings (begun in 1966), Screw Drawings (begin in 1973), and her more recent work Star Spangled Boner. In Union Jack-Off (1967), Bernstein twists red saturated canvas into give bending fhalluses. Emerging from a striped ground, these musty and mottled cocks both interrupt and fuse to the traditional patriotic motif. Next to the sexually expressive shapes, Bernstein scrawls “Union Jack-Off on U.S. Policy in Viet.” However, white spew obstructs the yellow colored slogan, an irruption that connects the artist’s interest in scatological mark making. With each gesture and successive expression, Bernstein merges masculinity and patriotism to reveal how one inflates and supports the other. The works in this exhibition deploy willfully low artistic strategies – kitsch and graffiti – to disrupt any clean image of policy.
The continued engagement with screws and cocks closes in on the machinery of the military industrial complex. Central to Bernstein’s work is the morphing of body parts into these political tools. Judith Bernstein’s work is the morphing of body parts into these political tools. Judith Bernstein is a celebrated artist, whose work has both utilized and undermined strategies of Pop since the 1960s. This exhibition reconsiders her investigation into the blurred distinction between patriotism and masculinity and the absorption of aggression into everyday politics.