Tuesday, March 12, 2013
en lieu of an "essay" (concerning 'Puis Je Caresser l’Espoir' videowork by Michelle Naismith), untitled newspaper publication, various editors, La Valise, Nantes, 2004 (French translation, ©, Copyright, Yves Cotinant, 2004, graphic design, ©, Copyright, Charlie Youle & Bevis Martin, 2004)
Contr’acte / Apreslude
Fully-equipped commemorative site is declared, allocated and
consecrated as venue for as yet unspecified future historically
important events to take place in, (further schedule, program and details etc only ascertainable at the time in question and subject to alteration).
Earthbound grounded flying carpet, given hero’s funeral, laid out in final resting-place, returns back to nature, going native, enjoying new-found freedom and 2nd childhood; overgrown and uncultivated floral motifs and patterns twinned with domesticated weeds and toxic waste sift through moth-eaten butterfly-net.
No original features are left surviving or can ever be retraced,
thanks to perennial theft, damage, deterioration, replacement,
exchange and turnover of what might just as well be game, puzzle, test, kit and tool components really.
Out-of-keeping exception to the inflexible golden rule of the usual customary norm expected round such parts — though not seeming to stand out much or make any real difference or impact on anything, despite having some unrecognisable but lasting influence.
Drastic changes happen very quickly, well within brief periods, always occurring ignored and unnoticed, whenever reliable expert witnesses are off-guard, busy, distracted or elsewhere.
This is the sort of place that’s only ever unconsciously thought
about, passed and gone through at most, never properly entered or stayed in, unlike everywhere else nearby.
©, Copyright, Douglas Park
Michelle Naismith invited me to attempt reacting to another work, featuring "Moodle Pozart" (or some such similar personage), 'Puis Je Caresser l’Espoir' (archaic genteel French: "Please might I caress the hope" as in "of possibly having the cruet-stand?" etc), which led to my ‘Contr’acte Apreslude’ (translated into French by Yves Cotinat — but without any English for my Erik Satie ripoff title I made up especially), alongside everything else, somewhere in an untitled broadsheet newspaper publication, 'La Valise', Nantes, 2004. I only ever saw 'Puis je Caresser l'Espoir' some time later, while manning Temporarycontemporary's 'Biennale!' video show, London, 2005.
It might need saying, just for my and the work's practicality, as well as ethics, I always insist upon and strive towards gleaning as much insight and lowdown about the artist, work and project etc, then do my utmost to cover, include, address and use everything to the max and beyond — unlike what way too many more orthodox and conventional essayists and critics admit and "justify".