Or at least I am like the crows of conventional wisdom, said to appreciate shiny. Appreciation augmented by vivid colour in the shiny. Lost At E Minor recently featured the creations of one Linda Dolack, who is probably a crow like me.
Shearer is representing Canada at the Venice Biennale. His portraits of rockers, displayed inside this pavilion, don’t move me (I am alone in this). But I sure as hell feel his megapoemliths. This flamboyant and masterful expression has a quiet and thoughtful corollary in Shearer’s commentary on his work. Painting characters with a balance of masculinity and femininity “creates a stillness”. Et cetera. Dude, you had me at Cornholination.
How I am enjoying the revelation that is recognizing the influence Instant Coffee has had on Even More Legendary. But I’m getting ahead of myself.
The first revelation – the impetus to post – was that Instant Coffee is more than its email list. Not to get too windy, but…I was reading about Micah Lexier’s multiples book I’m Thinking Of A Number on the Art Metropole site, and just below its listing was one for an Instant Coffee poster. As a longtime fancier of the seemingly arbitrary IC email subject lines (the only one still in my inbox serves just fine as an example: “peak everything!”), this made instant sense (no matter that the actual posters may not be, in fact, what I’d imagined in that instant).
Subsequent clicks revealed the secret life of IC as an artist collective. This also made instant sense, although I would not want to have to explain that to anyone. The Coffees make things and happenings, like Light Bar, pictured above, and Make Out Parties (and their documentation, Year of Love).
The Coffee spirit enjoyed by email subscribers across this fair land is evident in their manifesto, and forgive me for reproducing that entirely here, I know how you like your internet bite-sized, but then if you come here you would probably reject an apology for including the full manifesto. It’s only short anyhow.
With wavering clarity we understand that what we do is confined to the limitations of representation and we’re okay with that. As a product and service Instant Coffee is an effective substitute: It mimics the real thing without the pretense of being better. It isn’t that much easier to make, which is reason enough to justify it. Taste is a factor, taste being an important way to designate quality and define preference. But quality is too particular and preferences change. They are superfluous really, misnomers that distract from the basic reasons for ingesting either the real thing or its substitute. Value is in their effect. In its taste, Instant Coffee barely resembles the real thing, but its effect is the same. Regardless of taste, it still works. Quality is beside the point. In this disregard Instant Coffee becomes a medium to be used. This is Instant Coffee.
“I was moving it the wrong way, Dick.”
Walt Disney reveals the multi-plane camera. Disney choirs oo in the background. This is an easy seven minutes to pass.
Pointed out by Motionographer.
Charles Spearin’s The Happiness Project is perfectly titled (I am NOT obsessed with titles). Ain no way you can listen to these snippets of his neighbours’ happy chatted thoughts, which he has turned into happy musics, and not feel happy. And now, Coolest Festival Pop Montreal, features a house filled with artist interpretations of the tracks on the album, one track per room. It’s an Artist Bloc project, featuring work by Crush, Inc., Beluga Studio, Nicole Legault, David Collier and Marianne Collins, Marijke Bouchier, Svea Vichander, Amy Vickberg, and Corri Lynn Tetz.
My inability to attend, ironically perhaps, is making me fairly unhappy. It’s on from September 30 to October 4. Details:
Boogie Woogie Wonderland
I learned of Takuji Kogo recently, as I learned of the fullness of Instant Coffee’s endeavours, all through Art Metropole. It was the video work of both that Art Metropole had collated and distributed, but it is the language work of both that charms me most. A recurring element in Kogo’s work is found texts – everything from want ads to fortune cookie slips. Presented as text on a screen, but in fragments, or sung as simple melodies through a vocoder, the actualities are encountered fresh, their backstories and imagery evoked for contemplation. When matched with a slowly zoomed and panned image, the effect is to eavesdrop on the collective unconscious. The image work is effective on its own, as well, as seen above in Boogie Woogie Wonderland (with its added zest of looping frames). But for the full effect, visit Kojo’s project site *Candy Factory. Cute Or Creepy is a terrific specimen to start with.
When I die, this is where I will go. Meanwhile, I want this looped, playing on my wall.
On the great Booooooom! :