reading to cows,
reading to cows,
sunset over, under, around fatima
INSTALLATION BY FÉLIX GONZÁLEZ-TORRES
September 16 - November 20, 1988
When I was asked to write a short statement about the work in this space I thought it would be a good opportunity to disclose and, in a certain sense, to demystify my approach. I hope that it will guide the viewer and will allow an active participation in the unravelling of the meaning and the purpose of this work. Many may consider this text redundant; and unnecessary intrusion, or even a handicap. It is assumed that the work must “speak for itself,” as if the divine dogma of modernism were able to deliver a clear and universal message to a uniform “family of man.” Others know this is not true that each of us perceives things according to who and how we are at particular junctures, whose terms are always shifting. Preferably the exhibition gallery will function as an educational device, simple and basic, without the mysteries of the muse, reactivating history to affirm our place in this landscape of 1998.
This work is mostly personal. It is about those very early hours in the morning, while still half asleep, when I tend to visualize information, to see panoramas in which the fictional, the important, the banal, and the historical are collapsed into a single caption. Leaving me anxious and responsible to anchor a logical accompanying image scanning the TV channels trying to sort out and match sound and sight. This work is about my exclusion from the circle of power where social and cultural values are elaborated and about my rejection of the imposed and established order.
It is a fact people are discriminated against for being HIV positive. It is a fact the majority of the Nazi industrialists retained their wealth after war. It is a fact the night belongs to Michelob and Coke is real. It is a fact the color of your skin matters. It is a fact Crazy Eddie’s prices are insane. It is a fact that four colors red, black, green and white placed next to each other in any form are strictly forbidden by the Israeli army in the occupied Palestinian territories. This color combination can cause an arrest, a beating, a curfew, a shooting, or a news photograph. Yet it is a fact that these forbidden colors, presented as a solitary act of consciousness here in SoHo, will not precipitate a similar reaction.
From the first moment of encounter, the four colour canvases in this room will “speak” to everyone. Some will define them as an exercise in color theory, or some sort of abstraction. Some as four boring rectangular canvases hanging on the wall. Now that you’ve read this text, I hope for a different message.
For all the PWAs.
the endpaper of a catalogue for paul graham’s dublin showing of a shimmer of possibility photographed in an irish pub - but not the characterful bar part, the lounge.
One Hundred Poems From the Japanese
Francis Bacon Fragments Of A Portrait – Interview by David Sylvester.
Broadcast on BBC, September 18, 1966.
Fergus Feehily - Pavilion. Pages 26 - 27
Left: Untitled, 2009, Paper and found illustration.
Right: De Liefde, 2009, Oil and acrylic on MDF and wood, screws.
“Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of ‘Green’? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color. Imagine a world before the ‘beginning was the word.”
― Stan Brakhage
THE ABSENCE OF MYTH
Photographs, texts and design by Tereza Zelenkova
Foreword by Daniel C. Blight
Poem by Ed Anon
32 pp., 28 black and white plates
Digital print, saddle stitched and individually numbered.
Edition of 250.
Special edition of 20 books comes with 10x8” gelatin silver print hand printed by the artist.
£20 / 26.00 €
£60 / 75.00 € special edition
For distribution contact me:
For direct sales contact Matthew:
Athlone (bottom) & Fake Athlone (top)