Photo: Bryony McIntyre

Loic Blairon

It Doesn't Say What It Says

Event

15 May 2010  •  Tramway, Glasgow

Artists

Open-ended, paradoxical and performed investigations into: misunderstanding, language games, form saturated with sense, and consecutive matters…

We'll make no bones about it: We like artists who use types of information we know nothing about. We like it when they do so with no explanation whatsoever. We like it when an artwork assumes that we can be expected to do some research. Are you like us? Could you be convinced? Loïc Blairon's performance at our recent KYTN festival opened up an obvious, logical, unresolved future for how we could think in sound: it posed questions that are impossible to answer. Really: one of the best and most perplexing things we've put on in ages. 

Lots of art says something about what we understand, some of it says something about how we understand. Useful art maybe says a bit of both. And also: We don't think that's elitist, or arrogant, or deliberately difficult. It's just realistic: and (we think) a fact of receivership – objects reach out and grab us, and we try to understand them. I for one am regularly faced with the implications of our own sense of lack: my lack of knowledge, my lack of understanding, my potential for total and complete misunderstanding. What is this lack? Do objects (films, performances, whatever) contain everything that is needed to understand them? Or do We have to bring something, some supplement to them? So but then, we can ask: what is an art of lack? Something that proposes no clear or proper way in which it can be understood?
 Something that requires us to put in a shift, w/r/t comprehension?
 Something that resists understanding?
 Something that (by coming into contact with other ways of thinking – like maybe philosophy, performance…) suggests that art can be something other than art? 
Something that pushes thought to it's delirious maximum?
 Abstraction that comes full circle back to realism? Who knows. Here's a nice quote: (Hollis Frampton to Carle Andre):
“I here accuse you of believing that art, first and foremost, should be elevating. I suggest instead that we elevate ourselves.” 

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