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".
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