Danh Vo
19 Nov - 23 Dec 2005
Danh Vo
19 Nov - 23 Dec 2005
On the work of Danh Vo at Gallerie Klosterfelde
When appropriation art turned into focusing on the deconstruction of property on the level of freely competing individuals, it limited its scope to the public sphere of the art market - to the circulation of the object. This work, in contrast, articulates the disarticulated of this articulation of the economy and thereby the economy itself.
The artist exhibits a work which began after having spent a night together in the office of his lover, where he stole the concept and information of a current project to write a fake application to the danish arts council. The misappropriation took place not in public but in the privatised intimacy of the as well debureaucratised bureau, a seemingly safe space of (sex/ love/ tender) reproduction, which also is the ground and source for artistic productions. The question (not in terms of intention but on the level of effects) would be: where does the work (of the artist involved) start? Violating the border makes the border visible. The obvious exploitation of sexuality hints to the structural exploitation, which (especially in heterosexual contexts) operates behind the scenes of exhibitions and which constitutes and selects subjects before they have ‘a name’ in the double sense of the word.
Robbery here, “first step in redistribution”, is primarily a robbery of privacy itself, its etymology hints to what it is dealt with here (Latin: privare = to rob) - deprivatisation. But neither in the sense of a banal gesture of provocative exhibitionism for the means of itself, which supports and reproduces the ‘self’ by exposing it. Nor in the copy of the original that decentres originality and in the end originalizes the copy. But in the articulation of the amicable collectivity, of sexual reproduction that produce artistic labour as well as the artistic ‘self’ before it’s value realizes itself. The work places itself in a feminist tradition, that claims the private to be political and reveals reproduction as supporting production. Articulating reproduction today means to deal with its very crisis - visible or invisible. The question of caring for others, for yourself and being cared for touches the society's sore spot facing the neoliberal wage labour centred discourse of individualization. It is specifically the art world that ever since reproduces the glamour of singular authorship, the myth of the sovereign individual producer, while at the same time radically marginalizing the paradox conditions of its reproduction. Love is always also if not nothing else than an ideology supporting
and veiling exploitation.
Instead an appropriation that is an ex-appropriation in the best case, this work sets an expropriation, that is an exprivatisation. An exploitation of privatised sexploitation. A artificial deprivatisation in times of societal (economical, cultural, sexual) privatisation.
For further information please contact the gallery.
opening: 18. November 2005, 6 – 9 pm
duration of the exhibition: 19 November – 23. December 2005
opening hours: Tuesdays through Saturdays 11 – 6 pm and by appointment
19 Nov - 23 Dec 2005
On the work of Danh Vo at Gallerie Klosterfelde
When appropriation art turned into focusing on the deconstruction of property on the level of freely competing individuals, it limited its scope to the public sphere of the art market - to the circulation of the object. This work, in contrast, articulates the disarticulated of this articulation of the economy and thereby the economy itself.
The artist exhibits a work which began after having spent a night together in the office of his lover, where he stole the concept and information of a current project to write a fake application to the danish arts council. The misappropriation took place not in public but in the privatised intimacy of the as well debureaucratised bureau, a seemingly safe space of (sex/ love/ tender) reproduction, which also is the ground and source for artistic productions. The question (not in terms of intention but on the level of effects) would be: where does the work (of the artist involved) start? Violating the border makes the border visible. The obvious exploitation of sexuality hints to the structural exploitation, which (especially in heterosexual contexts) operates behind the scenes of exhibitions and which constitutes and selects subjects before they have ‘a name’ in the double sense of the word.
Robbery here, “first step in redistribution”, is primarily a robbery of privacy itself, its etymology hints to what it is dealt with here (Latin: privare = to rob) - deprivatisation. But neither in the sense of a banal gesture of provocative exhibitionism for the means of itself, which supports and reproduces the ‘self’ by exposing it. Nor in the copy of the original that decentres originality and in the end originalizes the copy. But in the articulation of the amicable collectivity, of sexual reproduction that produce artistic labour as well as the artistic ‘self’ before it’s value realizes itself. The work places itself in a feminist tradition, that claims the private to be political and reveals reproduction as supporting production. Articulating reproduction today means to deal with its very crisis - visible or invisible. The question of caring for others, for yourself and being cared for touches the society's sore spot facing the neoliberal wage labour centred discourse of individualization. It is specifically the art world that ever since reproduces the glamour of singular authorship, the myth of the sovereign individual producer, while at the same time radically marginalizing the paradox conditions of its reproduction. Love is always also if not nothing else than an ideology supporting
and veiling exploitation.
Instead an appropriation that is an ex-appropriation in the best case, this work sets an expropriation, that is an exprivatisation. An exploitation of privatised sexploitation. A artificial deprivatisation in times of societal (economical, cultural, sexual) privatisation.
For further information please contact the gallery.
opening: 18. November 2005, 6 – 9 pm
duration of the exhibition: 19 November – 23. December 2005
opening hours: Tuesdays through Saturdays 11 – 6 pm and by appointment