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On the sayings of contemporary art

It seems to happen very often these days, that the textual editorials that accompany an art exhibition give the impression of having been created randomly, using some sort of lorem ipsum 1 generator, distinctive perhaps to the gibberish of the art world. Sometimes, it even looks as if it’s egregiously mangling arbitrary philosophical terms, throwing ontological significance at random intervals, without any aesthetic sense — nor, sometimes, even literary — whatsoever.

It approaches frightening extremes when it just reveals its utter lazy intellectualism, that builds truth for itself and then holds it to universal value, applauding its own empty wit. Every phrase seems to be more mindful about displaying a glossary of terms than in saying something relevant about the art it’s supposed to comment on. It’s always vehemently self-aware, but in absolute denial of its ephemeral nature and vagueness. Generalities, which abound, are laid out with a pretentious sense of morality, a pretentious sense of urgency in its aesthetic irrelevance. To whom?, once should ask. Because, in turn, this means such thoughts can easily be applied to any art display; and it would make no difference at all. It would appear they are battling against the actual artwork to achieve their status, to be considered themselves works of art.

What results is almost reminiscent of a surrealist cadavre exquis composition — this time with all the veils of a truly thoughtful discourse shaped by a single mind. Let’s be clear — it’s building connections to a work just because it’s physically connected to the art pieces it’s supposed to refer to, and because the reader is vehemently interested in making those connections work while nodding at the pace of its ridicule. All the correlation is drawn by the fact it’s in the same spatial context. Remove it from that context and it becomes a generic mix, of more or less persuasive ideas, but with no particular coherence. Move the walls of text from one exhibition to the other, and you would be hard pressed to spot any mismatch — so generic that they are not saying anything at all.

Notes:

  1. Placeholder text often used in graphic design that bears no meaning. More in Wikipedia.

Quick note and a design update

Last year was my most productive yet here on my blog. It’s an all too common case that I stop posting things when I grow tired of the site design. The last one, thusly, was quite an achievement: it carried me for more than a year. Still, my later silence meant it was time to shuffle things around a little — if anything, just in the name of movement.

I also have to acknowledge that sometime in the past few years I stopped thinking of new designs and instead began to embrace the fact that I’ll be constantly iterating on my website for as long as I have it. Even this iteration is but a refinement of what I already had in place — same navigation, same content structure, same pieces. I’ve paid more attention to the typography this time (using Dolly, a favourite of mine) and kept the Tonesque integration, which I like a lot. (Images and illustrations are a part of who I am, so I just embrace that even more with this design.)

Now that my disdain with the old design is relieved, I have quite a few posts and pictures on the drafting board that I want to publish. It’s been a good year so far.

Espejismo is a 30 seconds short film created by my two brothers with some friends, and with Belén doing the acting role. Check it out — it turned out well and was selected to participate on a film festival in Madrid. They all travelled there back in June and I joined them right after an Automattic meetup in Saratoga Springs. We took the opportunity to have a short vacation together in Spain and southern France after the festival.

A hallmark of the journey for me was visiting the Ermita de San Antonio de la Florida with frescoes by Goya. We were also quite delighted by the impressive landscapes near and around Carcassonne.

I redesign this place more often
than I write on it.