Will acknowledge politely like a trained puppy the artist’s invitationĪnd the participation of the objects, by which you mean the 186 workers You will want to use Akira Lippit’s theory about ‘avisuality’ to discuss your experience obscuring faces, penetrating eyes, appall (in all forms and tenses) You will tell yourself there is language you should avoid to avoid sentimentality To have a thought, there must be any object. How getting closer to the workers distances you from them How you wish to postpone the proximity made by each deliberate step That eloquently examines the cultural anxiety of walking You will lurch into this absence by writing a grant proposal That emptiness can be invisibility can be a metaphor for you You, like a dreamer, see invisibility so clearly The thanking does not help you remember the faces better than the empty seat It now leads you to the street in its purest form You assume you will be asked to fill that seat, but no one speaks to youīefore you react better by remembering each face or how manyĬross their legs, you are asked to leave the stage Then arrive at a stage of a grand theatre You will write a grant proposal to make yourself applicableīecause the hands are sometimes heavy, and you preferĪ grant proposal after you are walked through a long wooden corridor Proof 2: Santiago Sierra, La trampa (The Trap), Matucana 100, Santiago de Chillie (2007, photographic record/digital print on paper) After Afterwork, an exhibition exploring issues of class, race, labor, and migration in Hong Kong, its surrounding region, and beyond
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