Art : Amanda Beech A Wall

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Uses for Art are collected, codified, narrated and presented, product of many triumphs and editorial of truth and falseness, each thrust energetically into a ‘suite’ of the act of creation.
The collection occupying the mutated space, the Catalyst Gallery is known a All Obstructing Walls have been Broken Down in two rooms.
The familiar open Gallery has a wall ironically separating creating a foyer where mingling, conversation takes place, three pockets of space are therefore realised. Music in the form of sound design vibrate and permeate.
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In the first room are four works on paper. Graphic works each, signaling through word, power. Power. Infiltrated. Displaced. A hand in Land Triumphs is terminal perhaps, burial mode. Patterns of dots form the hand. A thin hot rod maybe making each hole burning and drawing into paper rough cuts of forms around the message. The word, the conveyed.
On these words come allegiances to vocabulary of the Post Planetary Capitalism continuums Amanda Beech has occupied her mind with in configuring her work.
The writing accompanying this Catalyst Gallery promotion is – in a sleeved handout – is in two folded card leaflets.
One is a dialogue concerning this exhibition and its related subjects.
from the other another view is dispensed by a writer gathering in separate works in an essay that includes Sanity Assassin (2010) so plenty of mileage out of this as it is reconstructed here in the limits of CatLyst Gallery. Gone are the Yellow chainsaws of the Spike Island Gallery describing the format of rooms requiring the artists required journey of the audience taken to the triptych large screens. Absent are the chainsaws on a mirrored base.

The sound design steps in to be an inferior soundtracked prelude as you hear it before you see the screens. A central screen is a focus primarily showing digitLly rain close up in darkness falling in real time. This relief is replaced by belief systems or analytical text dragged up as a composite which AB has written (anti-philosopher) Rottweiler as personage, identify assumed from critical writing from an enlightenment analysist who is named as Adorno in the sleeved notes.

Neither get the enlightenment. AB Anglo Saxon libiterian Whig is probably the former life occupied. The smell and foreign South Bank London Politics presaging the Plague , the Fire and rooted in the North London feudal side of the River now looking back at an enlightenment. The where the fuck did the enlightenment come from paradigm is core.
The reality is the Artist via. HARLISTIC CONTAINEROPIA that non environment sought by artists everywhere, (Little Kingdoms fantasies end exactly the same) Henry Moore, Futurist Architects, Goldfinger escapism and metamorphic rehumanising and reinventing the work already created by God only to deposit that notion like a wasteland. Literary criticism would be of value to the work if it were not important for its brilliance in misunderstanding the actual, phenomenology covered by real, not imagined people responsible for delivering new vocabulary.

Forgetful of Shakespeare and the need for additional words.
Women were given a life, came to the fore through the Charles II Byzantine life bringing as Dryden said ‘Freedom as an English subjects sole prerogative.’ After which times where moderates like the mind of ABs alter ego fought on both sides. Deplored in Drury Lane and in this English
Look over your shoulder at your own roots as rejected through Art and he Charles II dissected Religion into the most enlightened state having first encountering the humanIty of Catholics and the dour Scottish Presbyterianism.

Where AB goes with her experience is to a place where neither her or an audience vision of the inferred beauty of self knowledge is validly devoured. The cannibalistic which is how this distant Los Angeles logic depicts it.
Very 2014. Not knowing one end from the other. Upside down History, ruminating in the place of FFs End of History, projected by the bog standard recoiling against unseen, undefined enemy’s.
The Mulholland Drive, drive is dark and curved. Meant to depict our road much travelled. I could not give it any value other than Heh, Here we are, here, a location. Likewise the Stationary stations of cars lawns and homes.
No climate except the centralized reign.

Then there is the sucked it magpie architectural Autocad programmed rendered, sometimes un-rendered frameworks of objective modelling.
All very discardable rubbish design or interest.

Then the LA nature pornification of a garden hidden away from West Hollywood are the clutter of cut flowers. Dead horticulture now slightly referencing the nature of Frank Llyod Wrights post colonial homes and gardens.
So what. So culture is. Everyone knows LA is a place of contrast.
You would need to be living in a hut in Calcutta and even then down the Satellite rubbish TV will reveal it to the less than impressed poor.

You are I take it expected to suck it up and your crituque – AB tries to disown and embrace criticism. It is valid as it always is in somewhere, not here, a truth is revealed.
There is never a truth merely a motion of time interspersed among us. The literary criticism of years gone by is part of an education, learning different ways of seeing.

This art is an applied criticism of a personal examination. The artist as their own critic. John Berger a real person in the essay ‘Permanent Red’ put forward ‘Imagination is not, as is sometimes thought, the ability to invent; it is the ability to disclose what exists
For me there was no disclosure only repetition. Regurgitation. Exoneration of the personal psyche.
It would create further tedium to bring it more words.

The following is a narrative of disassociation.

Though a word about the part played. The caraciture. With strong persona and weak character a blend of elemental urges, at odds with almost all around, the physical, the dogma of the times, yet the closest to human will cornered, glorious never benign. Once the necessity is satiated like sex the infinite becomes possible once more.
A Word and Presentation
UU University of Ulster Art College is for learning
Have a shot across the loosely held campus of creativity.
Any word with a P attracts the artist and first up is the psychology of the human which she plainly presents as people avoiding themselves and presenting images as actors in the world which the artist widely travels.
A studio is important. A local is needed for the work to spring from.
Location is embedded not only in the graphic fixity of words as slogans but those words represent the carried culture the observed not understood but slog aniseed crude mirrors of words look back angry, disembowelled or whimpishly

The Conflation
No single or unique God
It is not a humanist world either.
The Occupy movement she observed is not where power exists.
It never was you could reply, it does not diminish the movement.
That is the scene changer in Amanda Beech staging with a clumsy rhetorical gesture to enlighten a largely young audience of students and practioners..

Much more complex – more diverse – the art world is in crisis what is the rubric that it has?
Art fails? Central failure is rationalization – implication.
Everybody is implicated. Those questions asked, the void is not filled.
The direction of divine travel is it appears – a screen of PowerPoint text which inhabit the written work and seems to be the direction this lecture will go – is the Art as the rubbing of the stones, except their cells of AB.
Instead of rubric however comes rubout. Like an LA detective novel; of Dennis Lehane, Michael Connely? the location AB resides, Phillip Marlowe chastises the new neighborhood and hunts down the perpetrator of the crime. Less compelling jeopardy than the ‘Tempest’ of the novel.
This is as close as I’m ever going to get to finding a message from ABs work given it is noir fiction delivered as noir fact. It borders on the banal and mediocre but its extracts of flash envelop all our configurations of the meaningful daze we encounter. This rubric of one persons Art is sometimes needy and subjective plageristic cannibalism of others creative genius.
Cinema all around LA no triple screens no triptych.
The creative of critical analysis used is hubristic. Leviathan is opining while the locked eyes of AB juxtaposes the powered up lone crusader from the 24 from box of delights AB tells us she devours like film as a life’s arrived appetite for – well it seems the z source.

Zenith is God speaking.

Human subject without any ground – real world goes on without us – artists – setting themselves outside.
Groundlessness.
It has consequences on your politics this unfixed love of this freedom idea.
All ideas from liberal to right this indifferent world marks a crisis point where lost grip all agree on chaos and unstable space. All eschewed.
Artists intentions and outcomes not trusting function.
It always was in crisis, you only relate to the seen the never seen polemic you will never know, so how come you are so certain a new time exists.
Becket quoted. The playwright not the overure politicised grandeur.
Object oriented philosophy is the by word.
Never convinced in those practices.
Hunch was conclusions is they know it all failure is certain idealist fantasy contradicting knowledge ( not in my experience of insight information and knowledge hungry not a reversal of the art t has in mind.

Art comingles with the real of sensory affect
Feel it man
Art s free by nature
Art is must work to manifest this freedom in the realm of the political
Art commits to freedom
Is an agent of dispersion, producing instabilty its a myth, and indeterminacy.
Art is incapable of organizing and planning
Art is a
Ways dismantling the form of power.
Art is sad abut confronting art.
Hitlerism
Promethean.
Images with power
Albert Speer he used light?!!!!!!
Josef Thorak she is attracted to the phenomenon of its expression she called it differently
Thomas Hobbs was working with Kings validation we will all kill each other
A belum of all against all
We cannot trust so we need organisation.
Ey ond the law 24 he represents the ethos of violent replacement
Consistent investment In this from the artist
My big problem with art
Folkloric
Subjective
Idealistic connection between knowledge and power

Art as the process of difference and change – its attempt to escape from itself brings itself back into the circle of critique!

Art as enlightenment – making us aware assumes that art is already different
And can transform

Can Art think in a wholly different paradigm?

Life is always a couple of hours north – the very nature of Little Kingdoms.

Hardly the garden city, the island of Aldous Huxley or the narrative of Thomas More whose Utopia was an island.

the place of Harlow Essex is a location of nothingness which Sir Fredrick Gibbard bonkers as he was devised as arnegade GLC architect.

These artists do not follow the BIG dots of this approach She is so niave and displaced or not on a real insightful journey.
Thather gets a mention the ramofications
Let’s build a gallery
Circus festival – it HAS AN AESTHETIC heavens above

Michael Stuot

The accelerationist
The norm the normalcy is their landscape

HARLISTIC CONTAINORCOPIA

A WORK OF COLLECTIVE LIGHT

THE FILM WAS AT ONE POINT CONFIGURED ON THE SEAT THE FINER ART OF ARCHITECTURE AND PORNIFIE IT IDIOTICALLY COMING BACK TO THE SLIM ROLLED EDGE CONCRETE SEAT AND THE STEPS

MICRO CHIP On A. @ @ @ FanshipTENDPN CHAINSAW WORKS PROVIDING
PRIMARY COLOURS

WHAT OS IT TO BE CRITICAL PRODUCING AN ANTAGONISM

THIS IS AS A DEGREE OF LOOKING – we are meant to look – express your thoughts – have power of rejecting the violence of mere rhetoric.
Rhetoric is functional – this is having your cake and turning it into art and have -Donald Davidson write supportively

This Is empowering someone who agrees, accepts has a connection.
AM at UU Central Belfast.

James Ellory uses the force of rhetoric.
Didn’t Hemingway lay a trail of middle clas. Paper materiality for dank consumption.

I am going to tell you everything

If only AM OR JE

John Graham

27 October 2014

Belfast

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