How do sculptures perform history?
I am a cultural translator. My work is a ménage a trois between personal trauma, public memory and consumer viewing history. If the 20th century introduced abstraction through archealogical discoveries during the Modern period, and Post-Modernism is a minimally grotesque collage of history, then a full scale demolition and renovation of the artes plasticas baggage is required to recover from the tragedy of poor images. Considering the programmatic dilemma of the old boys club art world, minimalism is not enough to critique American manifest destiny. Art is used, Sculpture is performed, the audience as author is implicated. To survive the coming century, we must actively critique aging Capital infrastructure, and reconsider our identities from a feminine filter. We must imagine our geographic relations as temporal, and our personal traumas as spatial histories. In aesthetic and programmatic terms, we must ask ourselves: What is Citizenship?
The City of Today for Feminine Urbanism is a dystopian historic fiction in the form of Construction Documents as Instructions for Survival and Identity Prototypes as Model Citizens. An absurd civic reclamation project paralleling the history of cities with the history of feminism, it is a blueprint for citizenship that satirizes everyday objects with the problems of identity politics. The work proposes urban scale solutions for intimate scale problems. In a context where vicarious digital media replaces society’s archival intimacies; a subtext where cloud computing anthropomorphizes architecture; other senses are required to interpret the baggage of an aging patriarchal infrastructure. If cities characterize this past, then the 3rd nature of our bodies are the remains of industrial history, art is the media filter to spectacle, and artists are the R&D arm for media. Three phases of transit are required to materialize the City of Today for Feminine Urbanism: Critique/Analysis, Removals/Demolition, Prototypes/Construction
Ethnic Ethics Critique
While renaissance sculptors like Bernini and Borromini directed our focus towards the heavens with a grounded, forced perspective, a view from the philosophical clouds of Huberman tells us historians are modelers of paradoxical spectacles. De Certeau begins walking the city from the clouds, then claims buildings are logos for culture. Deleuze disorganizes bodies into clouds when critiquing capitalism. Steve Jobs imagined a cloud so powerful it could store the intellectual history of humanity. Clouds are the first form of abstraction in nature, and have the anthropomorphic qualities to transform bodies into landscape, the sublime into the grotesque. Much like syncretism, digital media animism is anthropomorphizing objects; thereby grafting our identities to manufactured commodities. Our body filters are dusty with green LED remains. In order to imagine a dystopian future, one must consider the oncoming storm of soft cities where cloud computing replaces the archival constructions of architecture, and a foggier, spectacular capitalism dictates the conditions of the contemporary.
In the spirit of capitalism, the masterplan renovation begins with plumes of demolition clouds.
Identity Prototypes, Mythographic Construction