Theory of Achievement

I’m not here yet. I’m sorry. Not that I There was this ongoing problem with something. The decrepit team sits in front couldn’t make it, but I’m always late, some- the iron curtain, that would have been the of the gallery as they’ve finished hanging times last, to the party. Theory doesn’t perfect starting point for one episode. The the small works of a group show, and as show up all dressed up, but comes unan- crazy discussions with the people they pick their night medication out of nounced, after the fact. I’m more a product around — fellow art people, especially the acrylic boxes, they just have a look at the of pragmatism. If it wasn’t the case I would dealers, and the neighbors. So many peo- show and wink at each other, saying some- be useless — but for the moment I’m not ple were passing by without understanding thing like, “I believe that was the best show quite sure where I am, and indeed I can what was happening — they would ask for we ever had.” find myself slightly useless. I’m just a meth- postcards, or manifolds, upon seeing the Marcia Tucker was still the head of od to move forward. Self-awareness en- books; one curator who would never say the New Museum when Anne Barlow and courages good humor. There’s nothing anything about any show but, “what’s Anne Ellegood curated a show called, “The noble, I guess, in finding ways to deal with next?” There was this girl who once came Times of Our Lives,” straightforwardly deal- the problems, as they mass in front of me. because she had to write an article and ing with aging. Surely some of the ques- The fact that I’ve been called in means that she was mistaken for someone else, told to tions they were raising then would now I’m part of the problem, as well as of the so- go upstairs, and that she should get herself need to be phrased differently, as we’re lution. Like they say: “try to love the ques- some coffee if she wished, and use the praising “elderly” artists (especially female tions themselves like locked rooms and like computer, and then she meets over there artists) more than ever. But what about art books that are written in a very foreign with an artist who’s there to help fix the spaces? Independent ones have to stay tongue. Do not now seek the answers, windows… Or Vito Acconci visiting, or Bill young and dynamic; they can’t afford the which cannot be given you because you Direen thrown out of a dinner …this story or physical signs of their aging, while real in- would not be able to live them. And the another. Anecdotes as the points of con- stitutions do grow in age, celebrate their point is to live everything. Live the ques- tact and contradiction between private and birthdays and life cycles. They’re the ones tions now.” As if it was that easy… public, between the very deep reasons why whose walls will remain pristine, bleached, I would think of my purpose rather as you’re losing your time, energy, and mind, cryogenized — worst case situation they a search for what is epic in everyday situa- to keep such a thing going on, and the in- will move to a new building when the old tions and everyday attitudes. My presence decipherable obligations, fickle needs and one gets decrepit. The little artist-run is also a commitment. The ambition (the unpredictable, inefficient, rituals that it cre- space around the corner can’t do such sur- irony) is to consider the process as it gets ates. The entity remains manageable in so gery. It shows its cracks, the dust and rust. jeopardized. I’m there when narratives are far as it’s impossible to make its histo- What a shame. It should better dissolve being written; when you look back to what ry — that it’s still a fabric of facts, situations, into an idea, or become a short-lived leg- you used to think and aspire to, and when live moments that have nothing romantic. end, maybe a book. you project yourself in the future. I sup- And it comes back to the same situation, port — and I’m supported by — these recol- like a new episode, everyday, or every lections, hopes, fantasies and imitations. week, every season. From your institution to mine The formation is reciprocal; a construction When I was in high school, and I was a re- amongst constructions; the echo of a be- cord nerd, I wanted to know all the band’s lief. As you move on I’m becoming some- Getting old names. Some girls would say, “All you guys thing in the distance, stimulating, unclear, One of the episodes in the series would want to talk about is 7’ a and records and frustrating and decisive — a relation, a have be sci-fi — sort of — a flash-forward vi- its all this obscure stuff, and it’s just so bor- shadow, a lingerer. sion of the same alternative venue, de- ing.” I hated that attitude because I wanted cades later. It would happen in the same to keep talking about records because it place, with the same shitty economy, the was something that was exciting to me. But Believe it or not same witty way of dealing with it, and of it’s sort of like you become a school of one, For a long time we we had been playing course the same group of people; now they and you’re the only lecturer, and the whole with the idea of writing a TV show about would be 70 something, still freelance, still world is your student, you suppose. There’s the daily life, the trials and the vicissitudes struggling with side jobs and running the no force in society that’s corrective to it. It’s of an independent art space. Just thinking space as their beloved hobby. They still almost viral. about this was the best way to laugh, and make jokes about finding new ways to get It’s like a reason why my whole life I regain complicity. And this allowed to take money, and they still imagine even more wanted to do the Artforum Top Ten, and some distance from what was actually hap- ways to expand, change the project; but as this week I had a deadline on Monday to do pening — a way to make fun of ourselves, a matter of fact it’s been the same forever. it. And I thought so hard about it. All I had not of the others, to push in the distance Maybe there’s still some young interns to do was pick these ten people, artists that the insanity of it all… Don’t think we be- fooling around, with the same insecure I really care about, and write 20 to 100 lieved we were making it to the top. It was happiness, and the same helpless awk- words on each of them. And I did it, and I funnier this way, that’s all! wardness when it comes to actually do sent it in and, the next day, I couldn’t sleep ART CLUB 2000 JASON SIMON RICHARD HAWKINS LILY VAN DER STOKKER

Libération, Mayfair Show Back in the Game, 2014. Acrylic and pencil on canvas; Believe it or not (sketch December 31, 1999. (Claire Pentecost), 1994 40.5 × 51 cm • An Ugly Child makes a Lurid Discovery, for wallpainting), 1993 Newspaper; 38 × 29 cm C-print with playing card & adhesive label; 2014. Acrylic, collage and pencil on canvas; 40.5 × 51 cm Marker and color pencil 40.64 × 50.8 cm • We’re Big Fans of your Work, 2014. Acrylic, collage on paper; 26.5 × 35.5 cm “Art Club 2000 was initiated LEIDY CHURCHMAN and pencil on canvas; 40.5 × 51 cm • Trouble in Paradise, in 1992 by New York art dealer Mayfair Show 2014. Acrylic, collage and pencil on canvas; 40.5 × 51 cm Mistake (design for Colin de Land and seven (Moyra Davey and Dennis Balk), 1994 • Still Ill: An Illuminating Manuscript, page 01, 1984. wallpainting art students from The Cooper Insecure Rat, 2013 C-print; 40.64 × 50.8 cm Polaroid and ink on paper; 60.8 × 45.5 cm • Still Ill: An with carpet), 2010 Union School of Art. Oil on linen; 30.48 × 34.29 cm Illuminating Manuscript, page 05, 1984. Polaroid and Color pencil and pen The group, through weekly Mayfair Show ink on paper; 60.8 × 45.5 cm • Still Ill: An Illuminating on paper; discussions over the course of Jungle Cafe, 2014 (Claire Pentecost and David Smith), 1994 Manuscript, page 07, 1984. Polaroid and ink on paper; 21 × 29.5 cm a year, worked towards the Oil on linen; 68.58 × 31.75 cm C-print; 40.64 × 50.8 cm 60.8 × 45.5 cm • Still Ill: An Illuminating Manuscript, idea of producing an exhibition. page 08, 1984. Acrylic, collage and ink on paper; No progress (design This first exhibition, “I think Pizza Box is a good piece I guess what I think about a lot is Mayfair Show 60.8 × 45.5 cm • Still Ill: An Illuminating Manuscript, for wallpainting in ‘Commingle’, was realized at that you brought up for this how much I love to see art that (Moyra Davey), 1994 page 12, 1984. Polaroid and ink on paper; 60.8 × 45.5 cm donut-shape), 2011 American Fine Arts, Co. question. “Your Freshly Baked was not made yesterday — C-print; 40.64 × 50.8 cm • Still Ill: An Illuminating Manuscript, page 13, 1984. Color pencil on paper; in 1993 and took as its subject Pizza” it says, with creamy I love going to museums to see Acrylic, pencil and ink on paper; 60.8 × 45.5 cm • Still Ill: 30 × 42 cm the retail clothing chain, The white and forest green — so older work. All I want to do is Mayfair Show An Illuminating Manuscript, page 15, 1984. Polaroid, Gap. The show included group bold and secure. Painting is in look at Hilma af Klint and learn (Claire Pentecost and David Smith), 1994 acrylic, collage and ink on paper; 60.8 × 45.5 cm • Still Ill: Useless movement portrait photographs, fact a delivery — right to you. from her. So if you can find the C-print; 40.64 × 50.8 cm An Illuminating Manuscript, page 18, 1984. Acrylic, (design for wallpainting store-display installation, and I love that simple arrangement. opportunity to see it in person, collage and ink on paper; 60.8 × 45.5 cm • Still Ill: An with carpet), 2011–14 included texts and documents “Here.” Finding the way for there you are with it, just as it Mayfair Show Illuminating Manuscript, plate 01, 1984. Acrylic, ink and Color pencil on paper; researched and produced something to fit inside — was, and still is. ” […] (Adam Simon and Hans Weigand), 1994 pencil on paper; 60.8 × 45.5 cm • Still Ill: An Illuminating 29.6 × 41.8 cm by going through the store’s framing — is my biggest C-print; 40.64 × 50.8 cm Manuscript, plate 02, 1984. Acrylic and ink on paper; trash. Art Club 2000 produced concern. To me it’s like making 60.8 × 45.5 cm No improvement no several self-portraits the bed. How can the picture Quoted from Michele d’Aurizio, Mayfair Show progress (design for “Painting It, Touching It,” in Flash Art, dealing with the aesthetics of get tucked in? […] July/August/September 2015 (David Smith), 1994 “Dear 23 year old me, wallpainting and advertising and self-branding, C-print; 40.64 × 50.8 cm Lighten the fuck up, sweetcheeks. I’d like to say things furniture), 2009–14 including spreads for lifestyle get better — but they don’t really. At least not for a long Color pencil on paper; magazines such as Dazed Mayfair Show long while. If you can keep from throwing yourself off a 30 × 42 cm and Confused and The Face, (Claire Pentecost), 1994 bridge between now and then though there will someday and pictures that were CLÉMENT RODZIELSKI C-print with playing card & adhesive label; be this amazing invention called anti-depressants. Courtesy circulating in the pages of art 40.64 × 50.8 cm I suggest you take as many as your little heart desires. Air de Paris, Paris magazines. They did work But otherwise, if you stick it out you can look forward to about gentrification and real Untitled, 2013 Mayfair Show meeting amazing friends you’ll love and cherish much estate — ‘Soho So Long’, a Wall painting; variable (David Smith), 1994 more than family, mountains of books to dig into, pervy show and accompanying book dimensions C-print with playing cards & adhesive label; old men to teach you how to be just like them, loose of interviews with art dealers, Courtesy galerie Chantal 40.64 × 50.8 cm boys to chase all over the globe… And besides that critics and collectors about Crousel, Paris much much much more porn, gallons and gallons more gallery districts in NYC — and makes me feel at once smugly in the know and membersMayfair Show of the Vertical Club were insistentlypoppers and some incrediblerepetition drug trips depletes you’ll be farthe from aura of a work of art. WILLEMNOTES OOREBEEK & KRIS KIMPE towards the end of the 90’s (Dennis Balk), 1994 happy if you miss out on. So just ease up and enjoy it they produced investigations helplessly dumb. That’s because Oorebeek is C-print;extroverted, 40.64 × 50.8 cm as if they were meant to beif you viewed can. Whereas, in many ways, repetition creates aura 1 What distinguishes this show from into the state of concept and emphatically unclear. Most difficult is the fact only by the camera. They lived for the Muchattention love little buddy,through Take care accumulation— You at 53. or saturation. other Oorebeek shows is its architecture. critical art forms, starting with that while his work makes good on the claim ofMayfair the camera.Show They turned to it as plantsPS: Youdo thedo realize you just turned yourself into pretty Usually he builds very little, if anything. ‘1970’, a series of video (Ashley Bickerton and David Smith), much of a half-decent writer though. Don’t you? Judging from the evidence, Oorebeek’s interviews about the year 1970. to spur one’s consciousness of how, and to sun. Here were images that don’t reproduce and To engage the issue of accumulation, speed, 1994 C-print with playing card; 40.64 × 50.8 cm PPS: Oh, and painting. Have yourself a field day — who walls force a perspective and make a In 2000, A ‘Retrodisrespective’ what ends, representations affect us, they also images that can’t stop reproducing. Inthe fuckeither cares?” and visibility, as all Oorebeek’s images variously was mounted in Mexico Mayfair Show point about the materiality of all images, City at the Museo Carrillo Gil, demonstrate the limits of critical knowingness (Ashleycase, Bickerton) Oorebeek, 1994 understands that his work lives do—some concentratedly, some symbolically, establishing the connection between an which included Art Club’s final as an artistic strategy, mocking the brainy mood C-printamong with playing surfaces, card; and that the true art of its some peripherally, some only as a small, bright image and the mechanistic and financial work, a model of an Aztec in art fronted—rather than followed—by critical 40.64livelihood × 50.8 cm is to skate well on them or not skate detail by which to flesh themselves up out of dim ingredients of its face. pyramid constructed entirely From a press release from Yale Union, dated May 2015 of Coca-Cola cans, in reference talking points. Oorebeek is a philosophicalCourtesy Callicoonat all. Fine Arts, New York abstraction—is to put into play many of those 2 I don’t really know how much to the newly inaugurated artist, not a philosopher of art. provident concernsCARSTEN we HÖLLER, have about theVicinato malaise, 1995 of Oorebeek’s work has changed from Vicente Fox’s previous job, ROBERT BREER “I curated a show at The MayfairWhat Club, did a privatecompel poker me club is the fact that I am the times, ourPHILLIPPE quick PARRENO,cultural consumption,16 mm film and transferred show to show or in the wake of our as vice president of Coca-Cola in a basement near Madison Park, and then exhibited RIRKRIT TIRAVANIJA to DVD; black & white, recent boom in technology. He just goes Mexico.” these ‘installation photographs’ at American Fine Arts. sound; 12:00 One thing I am certain of is that the work still tied to the ritual of viewing art in person the violent market of art. But to theorize about on printing, with a somewhat reluctant Float, 1970 It was about making a connection between artists and Courtesy Air de Paris, Adapted from: http://www.betweenbridges.net/ asks us to contemplate the faltering state of the and yet I am also annoyed by the enduring this is perhaps to miss the grainy, unexpected Art%20Club.html White plastic, battery-powered; gamblers, or art making and gambling. All of the works Paris but still inevitable eye to his past 10.16 cm high handmade in an age of costless technologieswere selected and for theirassumption articulation of that what reproductionI saw as the is the worst fate bits and to take oneself only part way around “selves.” A more interesting question to Courtesy gb agency,relatively Paris frictionless production. Oorebeekshared isconcerns a forfor repetition, any work play, suspendingof art, despite time, the fact that it is the the experience.LIAM ThisGILLICK, work DOUGLAS has plentyVicinato to tell II, 2000us me is whether any of us change at all, questioning the fates, playing to lose, the study and GORDON, CARSTEN 35mm film transferred and whether the notions of change and philosophical skeptic: Though never detectablyinterpretation of signs,fate, and to creating varying value. degrees, The photos of all works of art. With about imagesHÖLLER, and their PIERRE stamp HUYGHE, on us, tobut DVD; would color, sound; human development aren’t just similar cynical, he appears to be making elegantwere sport printed oddly,Oorebeek, off center and I found some with someone the who has devoted mean nothingPHILIPPE if it weren’t PARRENO, for the real11:21 mystery to notions of character, which seem of something like what Matthew ArnoldMayfair’s heard, own playinghimself cards to mounted. this very The predicament. artists But instead of and mourningRIRKRIT they TIRAVANIJA welcome. Over theCourtesy past year, Air de Paris, to me to be constructs, built against were Ashley Bickerton, Moyra Davey, Claire Pentecost, Paris the bewilderment of chaotic life, a on Dover Beach, as the “melancholy,David long, Smith, Hans Weigand,either givingAdam Simon, up orDenis selling Balk. out, Oorebeek, like I have come to understand how his images live momentary stay against confusion. withdrawing roar” of perishing traditions.Colin showed Is those moreinstallation and shots more at AFA artists, in a show made a game of it. The two lives: one is an open life of analysis, seen called ‘The Mayfair show’, my first solo show in NYC, “Two videos about proximity and the politics of discourse as they are arranged along a temporal sequence. The shooting he nostalgic? I don’t think so. By makingbut I also an included portraitsfact that of poker all art players gets made funneled by a into digital loam is and known material.by all The filmswho care are a toreflection know, of fullthe collaboration, of was made on 16mm black and white film, based on the archaic technology like a lithographycompulsive stone gamblera and plight club memberfor some named artists. Melissa For others it is a truism relative effectivenessdiscourse and and tensions of relative developed falsehood, in the 1990s. style of Antonioni’s films from the 1960s. The location was Hayden. The club was very old and had moved locations Vicinato is a film divided into several chapters. It is based a roof in Milan. do the simplest thing, print black, Oorebeeka few times, and for ormost even of its anhistory ecstasy, it was abut bridge more than ever, artists and anotheron life a conversation running between its course friends, in between secret. artists. Few years after Vicinato, the conversation continues: addresses the historic task, urgent in artclub. today, It turned of to pokerare through conscious a legal loophole of how by distributiononly or a market And throughAs time some goes strange, on, the actors perhaps become accidental older, and the directors Vicinato II is filmed in color, and features Josh Cole, Grant coming to sensible and sensitive terms admittingwith the members (I wasof reproduction one) and not permitting and exposure cash can be the chief conjunction filmof circumstances, a different movie. The scenarioeverything is based that onis a conversation Gillespie, Karl Pittonand and Tim Webster. The scenario on the table (you bought your chips at the reception). It that took place between Carsten Höller, Philippe Parreno is based on a conversation between Liam Gillick, Douglas juggernaut of the digital and its almostwas endless eventually raidedmaterial by the police, of buttheir not so art. much I fordon’t know when this essential, of interest,and Rirkrit Tiravanija. and of valueThe conversation, to Oorebeek, which was Gordon, Carsten Höller, Pierre Huyghe, Philippe Parreno remediation. His tools are old, but the questionsthe poker as for the sportsconsciousness betting also going came on there. into It being, but with the everything inrecorded, which was he later is sincere modified andso that does each notactor would say and Rirkrit Tiravanija, recorded between 1998 and 1999. couldn’t be more in the mouth of the hadpresent: its share of whales.”facts of today’s market and technology, this deceive himself,the same everything number of words. that The conversationsmakes the are not The location has a view on Monte Carlo.” From a press release from The Museum of Modern Art, dated August 25, 1970 Email correspondence with the artist, June 2015 assigned so that each actor represents one artist; rather Adapted from http://www.ecoledumagasin.com/session23/en/vicinato/ What if an image, instead of being dispersed consciousness has become more acute. I’m not kernel of these images’ life, is hidden from him. and reproduced, is uselessly immobile? Is there certain what the repercussions of all this are. I room for a negative dialectic? How do we set up have to take a breath. I don’t like to plunge into a disaffirming relationship to productivity? water I haven’t checked the depth of. I think it will be some time before we really hit the weeds My questions are industrial sized and at the bottom of the pond. perhaps overbearing. Oorebeek’s are more human. “Why have you invited me?” is his Often when we speak of the allegories of perennial favorite. A number of forces acted mass production and constant circulation, we upon me, but it was not until viewing his work leave out the performance of the image in real on my computer that I wrote him a fan’s kind time—the fact that repetition, in fact, induces a of email. Now, this shouldn’t compel anybody kind of liveness which is linked to the physiology to make an exhibition, and it probably didn’t, of us having to look over and over again at the but it did affect me. His JPGs had arrived on “same” image. When you repeat something, my computer without the soft exhausted sound what you’re saying is that the content of that Willem Oorebeek was born in Pernis, of acquiescence. The Blackouts didn’t show image is less important than its enunciation. So Netherlands in 1953. He lives and works in up at all. Their ambience understimulated the how do you make that point? It’s through forms Brussels, Belgium where he and Simon camera. The results were little black rectangles of repetition and reenactment. So much of the Thompson lead the residency program at Wiels whose pixels revealed nothing but their demand discourse around serial or appropriation-based Contemporary Art Centre. This exhibition is for a ritual of physical attention. And the art has to do with Walter Benjamin’s idea that Oorebeek’s first in an American institution. all night the next day because I was so re- were always reconsidered, relocated in this speak much about love.) Group discus- pulsed by my own writing. Not because of particular forcefield, global/local. A “multi- sions are based upon doubt, blurriness, in- the substance of my writing. It took me for- scalar” exercise in judgment, so as to say. decision. It’s embarrassing when it be- ever to write, and it was the most difficult We had to look for the art, the artists, comes embarrassing. When work needs a thing. I realized it was something I didn’t to find out and know more, not get fooled definition — when the method needs defin- want to do, and I shouldn’t have submitted by the authority factor, get into the circum- ing you’d better throw it away; but where do it. It has something to do with me, right stances, the scenes, the rhetorics. It’s been you start from, then, again? What are you now, being unable to use 100 words or less more often something done from the dis- looking for? to praise a piece of culture because I con- tance, without that much traveling; collect- There’s this story according to which stantly read 100 word or less descriptions ing second-hand information, with the exci- filmmaker Eric Rohmer was so stingy he of art. tation of trying to guess more out of it. would think about his movies in relation to The record reviews and the restau- Passion wasn’t the way to express this love. his personal holidays — checking locations rant reviews in my newspaper cover the There was something more laid on the road to the beach, or something like same amount of ground — sometimes back — more distanced — humility? But this. The show is made on the way to the they’re of art and sometimes they’re of also: the feeling that the most interesting gorges — eating huckleberries, salmonber- pizza. I don’t believe anything I read in that thing should be the works in the room. ries, buying a new swimsuit. Soon we’ll be form. My own voice sounds so phony just Though, at the same time, the most inter- swimming in the river, getting our heads because of the form, and I couldn’t find a esting thing was the talking, the jokes, the under the cascades in the woods on the way just to get this icky feeling out of me. I chit-chat, whatever way they would ad- side of the mountain. The high-speed guess it has be something to do with blogs, dress what was in the show. Taking our- water falling down the mountain will ex- the icky feeling I get from whatever the selves too seriously, giving ourselves a mis- plode your mind. It’s not who wins the length of a blog message, and the icky feel- sion, had to be avoided at any cost. We game, it’s how it is played. ing I get from team-making and unde- weren’t doing something that important. served praise. I just don’t want to be in- We weren’t trying to stand for art- volved in it. It’s something that I have to find ists — stand by their sides, or course …but Escapism a way to do because I want to continue to not even all the time I guess… Working with Falling very down is no problem for us, be able to praise people, but the whole ex- them, and for them, as a matter of fact. because we are falling masters of the dark istence of the top 10 list culture has made it What we were into was always too We don’t have problems with landscape, impossible to the point where I have to turn far, out of reach, difficult to get, hard to tell, because we have a car to escape down pristine writing assignments like, “A and at the same time, very close, simple to We don’t have problems with transport, page in The Believer: Do whatever you deal with — it didn’t need sophistication, it because we fly into the distance want.” I can’t do those things right now be- could happen by chance, it could be there It’s not our problem, that some people have cause I can’t stand it. I can’t stand the con- with no extravagancy. Things could be de- very much money sensus. You know what I’m saying? It’s like cided easily. It wasn’t even a question of We’re happy since years we don’t need a cliché that’s really just coercive. It’s insisting on the choice: just that we knew problems** empty. It’s just a signal. That’s what I feel there were more possibilities; and that it ** Martin Kippenberger & Albert Oehlen like top ten lists are. They’re not what they wasn’t that complicated to provoke say they are. Its function has been com- them — to realize some of them. Looking pletely superceded by meaning in the case for these “other” issues, other stakes, was of these top ten lists.* like an adventure in unknown lands: places * David Berman where you could trust certain signs and names, and distinguish in between them, so that after a while, you could go further. Theory of Achievement We’re big fans of your work And there were many people to meet over August 1– September 6, 2015 Curated by castillo/corrales What you love (what you hate as well) there, who knew the same problems, and Design by Kris Kimpe and Willem Oorebeek leaves no doubt upon what you are: some- could share other stories. This was a prom- Thanks to the artists, Galerie Daniel Buchholz, body ready to answer questions, except for ise — but this was another time, maybe… GB Agency, Murray Guy, Air de Paris, Callicoon Fine one: who are you? Maybe we’ve lost the path, or we have to Arts, and Chloe Truong-Jones. Thanks to the Consulat It’s a matter of discoveries, affec- go back now. Général de France for their support of this show, which is part of an exchange between Yale Union and tions, preferences, distinctions. And above castillo/corrales. all (before experience), love. Even if it This exhibition would not be possible without seems silly to say, we loved the art that we Permanent vacation Yale Union’s members and volunteers, The Oregon were working with — more than the artists Organizing projects wasn’t always the best Arts Commission, The National Endowment for the themselves — and it had something way to meet and get to know an artist, or Arts, The Henry Lea Hillman, Jr. Foundation, The James F. and Marion L. Miller Foundation, and The “more,” something different, beyond the or- a writer or a curator — pretty often, this Martin Family. dinary. It had nothing to do with the other would let to disappointments and misun- shows in town, in terms of subject matter derstandings, indeed. Maybe that’s also Yale Union as well as of aesthetics, of positioning, why everybody wants to highlight the con- 800 SE 10th Avenue words, or even politics. There was some- versations, rather than the work itself. Portland, OR thing of contrarian way of thinking there, There’s many hidden rules in collabora- castillo/corrales that had something unbelievably exciting tions, although that’s what makes them 80 rue Julien Lacroix and exhilarating. The qualities of the works worth it. Pragmatics, once more. (We don’t Paris, France