(a) introducing daily writing
(1) initial thinking about antiexpression and expressivity in art
(2) iphone nazi exhibition concept
(3) fridge show update
(a) Markus Gabriel distinguishes between ‘natural kinds’ and ‘geist.’ Natural kinds are aspects of reality that don’t depend on our belief in them (like, for instance, the fact that water is made of h2o.) Geist, on the other hand, are the parts of reality that depend on our belief in them. For instance, the small green leaf curatorial collective is part of Geist: it only exists if we believe in it. How do we come to believe in something that doesn’t really exist? Writing is one way, because we can write about nonexistent things and bring them into existence that way: which is the point of these daily writings.
SGLCC has an outside and an inside. The outside are curator exhibitions and events. The inside is a conversation, a set of references, ideas, that we can develop together and use to make the outside. These daily writings are contributions to that conversation, and records of it.
(1) Is it safe to say that the dominant tendency of the global artworld over the last 60 or so years has been anti-expressivist? Against the excessive, embarassing patriarchal heat of ab-ex we can witness a succession of increasingly icy movements: pop turns down the heat, minimalism turns it down further, and then concept art freezes everything close to an iconoclastic point zero. Yes, the “neo-expressionism” of the 80s could, potentially, be a counter-example, but who looking today at Schnabel, Clemente, Fischl, etc would see “expression” COBRA is another counter-example, and so is the emotional charge of politicized art movements, but it still seems broadly “safe” to paint an overarching picture of anti-expressivism. This would be especially evidenced in the hegemony and power of the OCTOBER group, who use “expressionist” like a dirty word.
But something is changing now. It is happening outside of us and inside of us too. We are part of this happening. Art is a marathon production of new forms, yes, but for those forms to work, they have to be wedded to an emotional source: ‘every force evolves a form.’ Without emotional fountain, art becomes an illustration for academics, which is to say that it stops being art; it loses that holy green charge; the mistress who makes the grass green.
(2) Ahmet’s impromptu lecture about Anne Imhof’s 2017 Venice Biennalle gave birth to the concept of the iPhone Nazi, or also, the Berghain Lager. What is the concept here? There is something in Germany called ‘errinerungarbeit” – the work of memory. There is an honest desire to remember what the Germans do, and study it, and make sure it doesn’t happen again.
So how is it that the 2017 Venice Bienalle celebrated antisocial, violent, cruel, fascist behavior, glamorized it, and did so in an alliance with a vastly powerful billionaire? That is, how is that the leading German cultural artworld contribution seems to be repeating the fascist gesture, in an ironic sense, yes, but still repeating the mood, the feel: this is iPhone Nazi, this is the berghain Lager: this is the repetition of the vibe of fascism, the exclusion, the nihilism, the fuck you attitude, the meanness. (the flesh is gone and you just see the machine) It is back, surely, and it is being used to sell Balenciaga. Balenciaga Fascism?
Can an exhibition thematize this problem? Or is it through writing? In Ahmet, we have an extremely powerful ally, someone who could help us position this in an ‘empress’ worthy institution.
(3) fridge show update. BB wrote a text for fridge show. now we need to edit it design it get a time set up and get it sent out somehow. let’s end this email with a bonus. three names for exhibitions:
Open Call for Fridge Show I
Note From Small Green Leaf Curatorial Collective
We believed, for a long time, that there were no more frontiers within contemporary art. Everything had been tried and done. All that remained was to recycle and remix existing strategies into ever more specialized creative playlists. The future will be the same as the past.
But we have discovered one last frontier for contemporary art: one final zone that has not been transformed by the self-conscious aesthetic-practical contextualization practiced incessantly within the so-called “artworld.” Yes we are talking about the fridge, the Kuhlschrank, 냉장고, La Nevera, the refrigerador or the refigerator, 冰箱.
Yes, there have been artworks which have used refridgeration, but no, the fridge itself, this humble and yet basic object, has never yet been contextualized as a space for contemporary inventions. And with this bold and reckless spirit we invite you to participate in Fridge Show 1, to be held within the fridge in Galerie 252 between ___ and ____.
There are seven zones of activity within the fridge: first, the outside. If you are a textile artist, here is you time to wrap a fridge in your textiles. Second, the magnetic front. Now is the time to make those contemporary magnets. Third, the top of the fridge. This could be used for a sculpture or for a DJ site. Fourth, the opening mechanism of the fridge itself: what happens when the user opens it. Fifth, the bottom, sixth, the middle layer, seventh, the top, and eighth, the side cabinet.
There are many spaces within the fridge, but several of these spaces are already occupied, and space will go soon. Worry not, there will be several fridge shows this summer, so plant the conceptual possibilities of the fridge as a site for contemporary (or postcontemporary?) art within the depths of your mind and come speak to us later. We are the Small Green Leaf Curatorial collective, and are Sojin, Job and BB.
(a) ‘stark groovy’ about the the dying dreams and double afterlives of the 60s
(b) ‘juicy knockoffs, about copy and knockoff culture in early millenial kulture.
(c) NOT FUNNY, our anti-comedy showcase.