On the Spring equinox ( March 21st) of 2014, Liba W Stambollion and Gabriela Garza Padilla will launch a month-long exhibit of fifty four artists starting with a week of events. An eclectic range of International art from around the globe ranging from the Visionary Martina Hoffman to the Fantastic Zeljko Djurovic to the Surrealist Patrick McGrath Muñiz to the Indigenous Luis Eleazar Tamani Amasifuen will form one coherent exhibit of Spirit and Reflection.
Films, music, live painting, poetry and a Mayan Fire Ceremony for Peace, for balance and for Love will take place from Friday the 21st to Wednesday the 26th of March. The exact schedule will be out once we see how much money we can raise. If we raise more than we are asking for it will go towards other acts and showing the exhibit in other cities. (yes, we have offers!)
“Ex-Convento de Santo Domingo”
San Cristóbal de Las Casas, Chiapas, México not too far from the ancient Mayan site of Palenque.
'The time has come,' the walrus said, 'to talk of many things:
of shoes and ships - and sealing wax - of cabbages and kings.'
The times of manning the barricades have long since past for me. I no longer hold my breath waiting for change. Hoping, against all hope, perhaps, but I have no illusion that pissing against the wind will change the course of the Titanic.
From time to time, articles such as "Successor states to an empire in free fall" appear that would promise a glimmer of hope:
"I believe that something different really is happening in today's cultural jungle. Something is stirring that hasn't been seen for 30 years. New theories are emerging with strange and wonderful names that aim to describe in detail a culture and society they say are found on the far side of postmodernism." - Alan Kirby -but alas, the triumphant proclamation:
Postmodernism is dead. Wail and rend your clothes. Postmodernism is dead. The tyrant is vanquished!
was probably a little premature. Like I said, don't hold your breath! From time to time, I might indulge in the occasional rant, such as in my post About "Modern Art" and its excesses or I may also pass on some observations such as I'm sick of pretending: I don't get Art - but.... refer to my Titanic quote above.
However, I cannot help throwing the occasional firecracker, little barbs that I am well aware of won't change the course of history one iota, but doing so is catharsis - it makes me feel better (hopefully, it makes you feel better also, that's the whole point). Jeff Koons could probably care less about what I write, nor would he even know who the hell I am or why he should even care. But I do want to say right here that I find him to be a very engaging and likable individual, and I enjoyed the way he talked about his art.
Lets get to the point, after all this preliminary banter:
LAOKOON, ANTI-LAOKOON and ANTI-KOONS
Nothing on the conceptual art scene today really surprises me: during my student days (77-82) I was involved with our student newspaper. I wrote critiques, also for our local newspaper and a few times for a national art magazine. Hence my signature "Self-portrait with the Critical Eye" from that period where I tried, tongue in cheek, to show the conflict between being an artist and a critic at the same time.
When I say nothing surprises me: I contributed on several occasions conceptual ideas to our spin-off paper that came out irregularly during carnival and at April Fools Day. It was called "The McLiarist". A few of these conceptual head-slappers I now recognize in contemporary con-art - could it be that somehow they read yellowed copies of this rather obscure (fake) student paper from way back when? Or was I simply clairvoyant?
So now, in the same spirit I hereby conceptualize the following (no need to actually make the object): As in the sixties the Vienna School had reacted to Lessing's Laokoon and particularly Ernst Fuchs had created his monumental work "The Anti-Laokoon" (from his period 1960 to 1970); the first artwork that Jeff Koons sold to a collector (for $ 3.000.-) was a basketball in a fish tank.
I therefore propose the
being imaginary basketballs turned inside-out and filling the space of an otherwise empty gallery.
But unlike the space above, which is derived (or better said: "derivative") of Brian O'Doherty's "Inside the White Cube", this gallery space is not empty, but filled to the brim with imaginary inverted basket balls.
Now if I could just get an interested collector to buy this for hmmmm,