In a Nutshell

Victor Pelevin “The Sacred Book of Werewolf”

Have you seen the hit of the last Venice Biennale – the haystack in which the first Belarusian postmodernist, Mikolai Klimaksovich, hid from his local police inspector for four years?  Alexander called this work plagiaristic and told Brian about the similar haystack famously used before the revolution by Vladimir Lenin.  Brian observed that repetition is not necessarily plagiarism, it is the very essence of the postmodern, or – to put it in broader terms – the foundation of the modern cultural gestalt, which is manifested in everything, from the cloning of sheep to remakes of old movies, for what else can you do after the end of history?  Brian said it was precisely Klimaksovich’s use of quotation that made him a postmodernist, not a plagiarizer.  But Alexander objected that no quotations would ever have saved this Klimaksovich from the Russian police, and history might have come to an end in Belarus, but there was not sign of it breaking down yet in Russia.

Then Brian showed Alexander a work by Asuro Keshami, one which he regards with especial affection, not least owing to the serious investment required for its production and installation.  Keshami’s work, inspired by the oeuvre of Camille Paglia, of whom you must have heard, consists of an immense tube of red plastic with projections on the inside in the form of white fangs.  It is proposed to install in the open air in one of London’s sports stadiums.

And now I am getting to the point.  One of the most serious problems in the world of modern art is the invention of original and fresh verbal interpretations of a work.  Literally just a few phrases are required, which can be reprinted in the catalogues and reviews.  This apparently trivial detail can often decide the fate of a piece of art.  It is very important here to be able to perceive things from an unexpected, shocking angle, and your friend, with his barbarically fresh view of the world, does this remarkably well.  Therefore, Brian would like permission to use the ideas expressed by Alexander yesterday for the conceptual support of the installation.  The accompanying text which I include below is by way of being a fusion of Brian’s and Alexander’s ideas:

Asuro Keshami’s work ‘VD-42 CC’ combines the languages of different areas – engineering, technology and science.  At the base level the subject-matter is the overcoming  of space: physical space, the space of taboo and the space of our subconscious fears.  The languages of engineering and technology deal with the material from which the object is constructed, but the artist addresses the viewer in the language of emotions.  When the viewer learns that certain people have given this little queer fifteen million pounds to stretch out a huge imitation-leather cunt above an abandoned soccer pitch, he remembers what he does in his own life and how much he is paid for it, then he looks at the photo of this little queer in his horn-rimmed spectacles and funny jacket, and experiences confusion and bewilderment bordering on the feeling that the German philosopher Martin Heidegger called ‘abandonment’ (Geworfenheit).  The viewer is invited to concentrate on these feelings, which constitute the precise aesthetic effect that the installation attempts to achieve.

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Posted on February 23rd, 2010 under English, Literature, Quotes • Tags: "The Sacred Book of Werewolf", 42, abandonment, angle, art, bewilderment, confusion, emotions, engineering, essence, fears, fusion, Gestalt, interpretations, Lenin, modern, overcoming, plagiarism, point, post-modern, Quotations, repetition, sign, subconcious, technology, Victor Pelevin. • • RSS 2.0 feed • Leave a response, or trackback