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„Benjamin's description of the allegorist as one who "rummages here and there for a particular piece, holds it next to some other piece, and tests to see if they fit together" readily applies to the collage or assemblage artist. Collage and assemblage are allegorical processes par excellence insofar as the combination of things accentuates rather than ameliorates arbitrariness. That Genzken's chosen material is plastic gives added depth, meaning, and emphasis to her allegorical manipulation of commodities. For if in allegory "any person, any object, any relationship can mean anything else," in plastic's molecular structure resides the capacity to realize an infinite number of forms. As an abstract and inorganic material, one without essential materiality and characterized by a mysterious transmutability, plastic is perhaps the ideal material for the production of a contemporary allegory. The mass-produced plastic thing can be held up as the perfect emblem of our alienated times.“

– Art Historian Lisa Lee about Isa Genzken. Lee claims that Genzken’s working method is structurally allegorical and mobilizes Walter Benjamin for that claim *…~_..**

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Phillip Guston, Painting, Smoking, Eating, 1973

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I'm addicted to art. Hire me !

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Isa Genzken, Elefant, 2006

Wood, plastic tubes, plastic foils, vertical blinds, plastic toys, artificial flowers, fabric, bubble wrap, lacquer, spray paint.

200 x 220 x 100 cm

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Veronica Ryan, Cluster, 2021 18 Bronze magnolia pods, fishing line 43 5/16 × 6 11/16 × 3 1/8 inches (110 × 17 x 8 cm)

© Veronica Ryan Courtesy Paula Cooper Gallery, New

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Veronica Ryan, Scaffold, 2021-2022 Metal shelf, bronze, zip ties, empty coffee pods, sculpey, hydrocal, beads, self-hardening clay, bandages, thread, fishing line, plastic net, embroidery ring 63 3/8 × 36 1/2 × 26 inches (161 × 92.7 × 66 cm)

Photo: Steven Probert © Veronica Ryan Courtesy Paula Cooper Gallery, New York

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Veronica Ryan sculpture being hugged, hehe.

Link

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Veronica Ryan

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Veronica Ryan

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Veronica Ryan, Custard Apple (Annonaceae), Breadfruit (Moraceae) and Soursop (Annonaceae), 2021, the UK’s first permanent public sculptures to celebrate and honour the Windrush Generations.

Courtesy the artist, Paula Cooper Gallery and Alison Jaques Gallery. Photo: Andy Keate, 2021

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Isa Genzken

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Nicki Minaj reading Still I Rise by Maya Angelou

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The Indifferent by Antonio Gramsci

“I hate the indifferent. I believe that life means taking sides. One who is really alive, can be nothing if not citizen and partisan. Indifference is lethargy; it is parasitism; it is cowardice; it is not life. Therefore, I hate the indifferent.

Indifference is the dead weight of history. Indifference plays an important role in history. It plays a passive role, but it does play a role. It is fatality; it is something that cannot be counted on; it is something that disrupts programmes, overturns the best made plans; it is that awful something that chokes intelligence. What happens, the evil that touches everyone, happens because the majority relinquish their will to it, allowing the enactment of laws that only a revolution can revoke, letting men rise to power who, later, only a mutiny can remove. Between absenteeism and indifference, few hands, supervised by no-one, spin the web of common life, and the masses shut their eyes, because they do not care; and thus we believe it is fatality that ravages everyone and everything, and we believe that history is nothing but an enormous natural phenomenon, an eruption, an earthquake of which we are all victims, those who wanted it and those who did not, those who knew about it and those who did not, those who were active in it and those who were indifferent. Some whimper piteously, others curse obscenely, but few or none ask themselves: if I, too, had done my part, if I had struggled to exert my will, would what has happened have happened?

This is why I hate the indifferent: their whimpering, innocents always, bothers me. I hold each and everyone one of them accountable for how they carried out the task that life put before them and puts before them every day, for what they did and, especially, for what they did not do. And I believe I can afford to be unrelenting, unwilling to show pity and to share my tears with them.

I am ‘partigiano’, alive, and already I hear, in the consciences of those on my same side, the throbbing bustle of the city of the future that we are building. And in it, the social chain does not weigh on the shoulders of only a few, nothing is haphazard, fatality, but the intelligent work of its citizens. There is no-one watching from the sidelines while others are sacrificed, bled dry. I am alive, partisan. And, therefore, I hate those who do not take sides; I hate the indifferent.”

February 11, 1917

Translation by Matilda Colarossi

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From Have You Been Feeling Blue These Days? Poems by Kim Eon Hee, translated by Eunsong Kim & Sung-Gi Kim

Have you been feeling blue these days? Are you struggling because of money? Did you watch the viral videos? Is this your castle in the sky? Do your enemies appear as your parents? Are you afraid of becoming an arsonist? Do you want to suffer more from your sense of guilt? Are you anxious you might step on a dead person’s foot, somewhere? Even though you’re alone are you really not alone? Do even dogs or cows belittle you? Is your eye twitching and pus pouring Out of your gums? Is smoke coming out from your asshole or ear hole? Do your words come out like mushed rotten strawberries? Are both your hands fool’s gold, one holding amnesia and the other delirium? Are you boundless and trapped? Suffocating and In pitch-black? You’ll likely go crazy soon But like, only like Are you like that?

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