Last few days for G_M__O [sho] on line show by Darren Bader
These are the last days to visit the online show “G_M__O [sho]” curated by Darren Bader for NERO.
In each issue NERO invites a curator to publish a press release on the magazine and to curate the related show online. Click here.
G_M__O [sho] Press Release
All artifact is genetically modified, as it has (had) innumerable geneses(/loci) that precede it, and its modification [its most present genesis] is selfsame as its fabrication. All art is artifact until it is art. And when art stops being art, it is artifact. To find either reducible to the other is to helpfully confuse point with aperture: distinctions alternate/move between a focus and the less-discernible. Based upon this dynamic, currents of intimacy (or we as its intimates of currency) are wont to present and de-present (never mispresent, of course).
When we grapple, confabulate, tinker with the word “contemporary” as an adjective to describe [human] experiences of art(ifact) produced contemporaneous to our epistemic/epochal locus, we find no fitting end/reason to this grappling/confab/tinkering with the it. It is an intractable essence/quantity. We all clamber to make light of the “contemporary” for fear that we are subject to its immovable mantle, and of course we are: that’s why the word is so consternating: it’s just another linguistic ruse by which mortality attempts to forget its own feckless magnitude and to position itself more omnisciently (as if the partitioning of time had anything to do with time). How convenient (and how contemporary!) it is to forget what the “contemporary” more fully defines.
There is a method of speed and of play that characterizes a more particular contemporary of ours [assuming I’m writing in a living-reality compatible/mutual to the reader’s]. On the one, general, hand, it implies that: of the non-limited/innumerable contemporary”s that cannot but exist/be, we can only know/remember a finite amount. On a more specific hand, it implies that speed and play are inherent to a certain place of “contemporariness” that we are engaged in. The play of speed and the speed of speed and the play of play and the speed of play. Where are we within this; how do we perceive within this? These are questions inherent to our recognizing this specific “contemporary”. And as with any contemporary-proper, there is no teleology outside of it being the contemporary-proper.
When we perceive, are we true organisms? Do objects see for us? Are there really phenomena, or are we phenomena-‘itself’? When addressing the art(ifact), are we and it an equal organism, or are we unbridgeable organisms – and if the latter: where/what is the [an] organism: can there even be such a thing? Since we trust/know that we are “in fact” organisms – as our epistemic/epochal locus of a “contemporary” suggests to us – it’s easy enough to trust/know that an art(ifact) is an organism too.
Thus, we arrive at genetically modified organisms. And in the instance of this exhibition, we have a certain strain of genetically modified organisms. Salutations and props to King Corn King Porn ladiesandgentlemen yellow balls bumping grass on grass courts OMA [most likely not] Kate Bosworth [more likely Alison Lohman] credit cards credit rates and (un)scrupulous genetic engineers to come. Invent [make, do, become – there is no verb that grasps the ipseity, the ex nihilo of a genesis] and then hope nobody gives too much of a shit. Otherwise you could be exiled from the contemporary. (History really needn’t be all that alluring: it may be the only thing lonelier than mortality.)
Darren Bader is a young American artist born in 1978 and based in New York. He writes, curates shows and makes books. An important part of his work focuses on writing and language in their various forms and styles.