#david joselet

[dare-g]

"In Barney’s elaborate thematically interlinked multimedia series Drawing Restraint and The Cremaster Cycle, for instance objects function as protagonists in what amounts to an epic of things (this is why there is seldom any dialogue in his films since objects don’t possess the capacity for speech). Barney’s personal “mandala” or diagram of forces is encoded in his own invented logo, the “field emblem,” a horizontal oval shape upon which an orthogonal bar of repression is superimposed. According to the artist’s system, this simple figure encompasses three dynamics whose shifting equilibrium he defines as follows: (1) situation corresponds to raw drive without direction; (2) condition is a “visceral funnel” corresponding biologically to the breakdown of food in digestion, or the breaking down and building up of muscle tissue through exercise and sport; and (3) production that the artist associates with anal output, in keeping with his penchant for biological metaphors, which not coincidentally break down a “person” into a field of unconscious physical and chemical interactions. In many of Barney’s works, however, production is blocked in order to retain the system’s energy in a perpetual closed circuit. The arcane niceties of this privatized biological network need not distract us from Barney’s fundamental accomplishment: inventing an elaborate tournament of events for objects to undergo. In the case of his films and performances, things are wrapped, molded, hardened, personified, ingested, collapsed, and so on and on, as though put through every permutation and variation of the triple forces of the field emblem. In other words, the changes in format that objects undergo dictate Barney’s narrative. At a moment when biology and biochemistry have become reigning social metaphors, he rechoreographs the biological mechanics of the body in order to produce an operatic demonstration of the great unconscious hubbub that keeps us alive. Barney diagrams life as a drama of things. The field emblem is not the meaning of his work, but its format.

The shift I’ve indicated from an object-based aesthetics in both architecture and art to a network aesthetics premised on the emergence of form from populations of images, calls for a corresponding revision of critical methodology. Objects characterized by discernible limits and relative stability lend themselves to singular meanings—almost as though well-defined forms are destined to contain a significance like vessels. Emergence, however, unfolds in time: it must be narrated. Despite the changes wrought by contemporary art to art history’s object of study, the preponderance of art-historical interpretation continues to depart from the presumption that objects are its fundamental units of analysis—even if it is recognized that since Conceptual Art, artworks have become unconventional and provisional sorts of things. "

After Art

[tendido-5]

Festival :

Granada :

Entrada : Tres cuartos de plaza.

Toros : García Jiménez : De buena presencia y buen juego.

📍Morante de la Puebla : Ovación con saludos.

📍El Juli : Dos orejas.

📍El Fandi : Dos orejas.

📍José María Manzanares : Oreja.

📍Joselete : Dos orejas.

📍Marco Pérez : Oreja.

📷 David Bracho (ANFT).

#grandestoreros #enhorabuenatoreros #Granada #GarcíaJiménez #MoranteDeLaPuebla #ElJuli #ElFandi #JoséMaríaManzanares #Joselete #MarcoPérez #Toros #Tendido_5