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

Maryam Jafri ▌Economy Corner

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Maryam Jafri at P!



Maryam Jafri at P!
Artist: Maryam Jafri
Venue: P!, New York
Exhibition Title: Economy Corner
Date: February 25 – April 6, 2016
Maryam Jafri at P!

Maryam Jafri at P!
Maryam Jafri at P!
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of P!, New York
Press Release:
P! is pleased to present the first US solo exhibition of artist Maryam Jafri. Characterized by a research-based methodology that focuses on consumerism, archival histories, and the commodification of desire, Jafri exhibits here Generic Corner, a new installation in its North American premiere.
Generic Corner consists of packaging plucked from the history of consumer products alongside still-life photographs. During the 1970s and 1980s, generic food products featuring stark, black and white graphics were directed towards low-income and costconscious shoppers. These “unbranded” surfaces connoted cheapness and economy, reflected in their lower price points. Yet such generic goods, recovered and presented by Jafri decades later, become fresh projection screens for individual desires. Resembling conceptual art, monochromatic pop, and typographic samples alike, Jafri’s appropriation and recontextualization of these anachronistic consumer objects suggest alternative histories and futures of very different kinds of products.
Maryam Jafri is an artist working across genres and media, including video, sculpture, performance, and photography. Recent solo exhibition include Generic Corner, Kunsthalle Basel (2015); The Day After, Betonsalon, Paris (2015); Mouthfeel, Gasworks, London (2014); and Backdrop, Bielefelder Kunstverein, Bielefeld, Germany (2013). Group exhibitions include Sao Paolo Biennial 2016 (forthcoming); Belgian Pavilion, Venice Biennale (2015); Gothenburg Biennial (2015); Meeting Points 7, Beirut Art Center (2015, with additional traveling venues: 21er Haus, Vienna; Institute for African Studies, Moscow; Contemporary Image Collective, Cairo); When Attitudes Became  Forms Become Attitudes, CCA Wattis, San Francisco (2012) and Museum of Contemporary Art, Detroit (2013); Manifesta 9, Genk (2012); Taipei Biennial (2012); and Shanghai Biennial (2012). She holds a BA in English & American Literature from Brown University, an MA from NYU/Tisch School of The Arts, and is a graduate of the Whitney Museum Independent Study Program. She lives and works in New York and Copenhagen.