Welcome to the LOLhouse:


 
…how the Berlin Biennale became a slick, sarcastic joke

 

This show does not argue for a better art world; it argues for giving up on art entirely

 
At the very least, no one seems to have read an art history textbook. There is a century of precedents for artistic intercessions into mass culture that undermine the fetishised “newness” paraded here. The most obvious and important is dada: with his Monte Carlo Bond of 1924, Marcel Duchamp turned himself into not just a brand but a corporation. Think of the commercial mashups of modernist collage, or the deceptions of Paris’s situationists in the 60s; think of the redeployed images of 80s appropriation, or even Jeff Koons’s all-surface sculpture. DIS’s mid-market, mass-sophisticate pose reboots 90s collective Art Club 2000, who staged mock fashion shoots with clothes from The Gap. Even the glib inclusion of an outdoor gym (yes, the biennial offers training sessions) rehashes the Documenta of 1992, which featured a boxing ring.

Historical indifference is a venial sin. The mortal sin is DIS’s noxious metaphysics. For them, art is hopelessly tainted by commerce and the past is for suckers.
 

The Berlin Biennale runs until 18 September at venues across the city

 

Read the whole thing at link below:


via Welcome to the LOLhouse: how the Berlin Biennale became a slick, sarcastic joke |  The Guardian


+Note: Despite this rather grim vision of it, there is something to be said as a commentary on the times, our political season in the US, to embracing the all-encompassing and ever-pervasive apathy through late-capitalism-consumerist-hell. While this is incorporated in an overuse of the LOL here, that is almost fitting for it to inspire that, unabashedly and embrace it. For one, if I were in Berlin, I’d go to see this.

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