db tool use5

7/29/2019 DB Tool Use5

1/7

TOOL-USE


2/7

a floor mat made of interwoven pink and yellow

cable ties \ The e-mergence of niche audiences and

subsumption of former subcultures make speaking of a

contemporary neo-avant garde seem like just another

tree huse club with imsy lamiated membership cards.

Awkward too is talking of redemption and rehabilitation,

as if swanning about with a magic gallery wand, tapping

hosepipes, garden pots and spades to pop them both literally

ad metaphrically a pedestal. But ratefully abset

from the stilted conversation are words like commonplace,

mundane, humble, familiar, ordinary, workaday, discrete,

baal, ad lumpe. \ The de f the pst-readymade (after

this, PR) is where factory objects reacquaint themselves to

manipulation and elasticity, where industrial processes are

flded it a prism f subjective tuches. \ The PR, ecessarily,

hvers usteadily betwee times. It is retr, it is past it, stalic

ad yeari. It is bred. But its als childish, excited, laded,

schizphreic, lki twards smethi.

conversations overheard in the post-readymade parlour

chris fite- wassilak

( i )


3/7

a siamese egg-shaped mass of dust bunnies and

belly-button lint on the coffee table \ Theres an

odd balance achieved in what looks like a careless, taken-for-

granted vacuuming up and grasping at whatever surrounds it,

a prmiscuity that is actually uaced, experieced. The use

f materials is a careful statemet f a palette f iuece, a

site f cmmet. \ This is tired, maybe impatiet, with the re-

looking and re-appreciation of the object- the thing-in-itself has

already been released, or at least we cant presume ourselves

to try and release it, so we might as well see if another in-itself

altether ca emere smehw. Beyd sese, a ufrmed

lauae ad ascet critique.

( ii )


4/7

a curtain made of pyramidical used tea bags \ That

isnt to say that change in the here-now is impossible, but it

seems to me the importance of this work is in its contingency,

in its constant asking where the actual location of subversion

miht be lcated. Ad it hits that it is latetly preset, t just

in the normative weight of our everyday, or the habitual, how-

ever strae ad irreular that may be, but i this, cstatly.

\ It pits the way, by suesti a methdly. The crucial

point of the methodology is one of activity- not that of the artist,

but the materials and the new form of the altered readymade

itself. \ I this ctext, i this here-w, where the PR sluches

casually against the wall, it holds up its model of action where

the hads f the artist are almst a ay-had-whatever. The

thing has a certain distanced, independent cool, a casual wave

twards sme ld fashied mischievusess. Yu ca hear

Rsalid Krauss sayi, ...the temprality f the readymade

is that of the conundrum, or riddle; as such it is speculative

time; then maybe the PR is the actual activity of trying to solve

that riddle. / But it dest crss the threshld. This a psiti

frm which, I thik, I culd d that i my arae, is e ideal

respse. The riddle remais, there is permaet sluti.

It is the ptetiality f acti beyd the site prscribed as art,

a mere suggestion of a moment of equilibrium, the dispersal of

authrity befre its ievitable re-emerece.( iii )


5/7

and something vaguely like an octopus on the

wall made of string \ So where does that leave us? Why

w? It takes time t et used t this, I uess. Duchamps

bottle rack and snow shovel have already stood to numerous

tangents and interpretations; this is only further fragments and

cmpuds f the cversati. T et sme distace, say a

good 94 years since Fountain, to then re-approach it intimately,

to rub it against your skin instead of just staring at it like some

misshape asterid. T re-apprach it back thruh the rise

of the aesthetics of design and ergonomics, back through

the practical. Smehw steppi back twards a sese f

the personal, of a current reality but that has already been

touched and bronzed by the cold, apparently unreal, hand of

mass prduced use bjects. The ambiuusly preset had,

half ivisible with a wry smile.( iv )


6/7

( i )

Adam Thompson

Untitled

2009

Reclaimed signboard, cast aluminum frame

167 x 112 cm

( ii )

Sean Edwards

Painting Of A Photocopy For A Dolls House Paper (With Spill)

2009

Household matt paint on paper

42 x 29.5 cm

( iii )

Matt Harle

Untitled

1994

Cast acrylic paint, plywood, thread

35.6 x 35.6 x 41.9 cm

Currtesy f the artist. Pht: Ti Hafkescheid

( iv )

Sam Keogh

Head of Goliath

2010

Polysterene, mylar, tape

Courtesy of the artist

( v )

Amy Yao

Not All Its Cracked Up To Be

2007

( v )


7/7

ARTISTS:

Sea Edwards (UK)

Matt Harle (US)

Sam Keh (IRL)

Adam Thmps (UK)

Amy Ya (US)

CURAToR:

David Beattie

18th June - 29th July 2011

oonAgH YoUng gALLERY

1 James Joyce Street,

Dubli 1, Irelad

db tool use5

Documents