busy lately

panel discussion last friday strange with oral surgery after-effects but constructive celebration of Jim Allen's O-AR Part 1 shown at St Paul St discussion uncovered disagreement about the effect of revision of an in situ work for a particular gallery when reconstructed with wall-texts in valiantly archival paper instead of whatever originally and bright new shiny metal pieces in a 'white cube' 2000s gallery because the Auckland Art Gallery wants its purchase of the work from the artist not to look shabby when entering the canon or worse that could physically disintegrate in 50 years should the gallery therefore every time the current materials are shown not make clear that this version has the status of a translation amused to be called out as nostalgic for auratic effect when I pointed out that the changes falsified the in situ work as presented in the 70s since the auratic effect is the hype that does not stop to check out the material of the work in art history hype occurs just that way short-circuiting the inspection on which judgement is founded that is to say the discourse of judgment about what figures can be seen in a painting is not founded in the forensic discourse of fact about the procedures in painting that makes appearances possible foundations of thinking about arts in New Zealand are affected by work of artists born mainly in or around 1920 Len Lye a lot older and Toss Woollaston a bit older who first engaged with modern art inevitably generating local problems translation needed with overseas critics and historians since our terms are not entirely international currrency more like a dialect can't for instance refer to the work of Colin McCahon or Rick Killeen or Jim Allen without long explanation even though these may have been important matter for intense discourse

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[ディーゼル ウォッチ]

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[2013新作GaGa MILANO-ガガ ミラノ腕時計]

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