![Installation view of Backstage at The Violet Crab at DRAF, 2015.
Photo: Matthew Booth](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mFETV1ZW7j4K6R0_BVtJnGAFUf2fkCMrBDK3LwiLsWJ0nSXLSkNQSpRaywKUBJx8NsMqfdCIOc_U7bOYhJ6f_RLwDYy4RRcuUx15GLi09RKEySQwerNEEllK42yQe2w6LTG5GfxFsxU/s1600/2015-02-05-DRAF-IMG_7515-660x700+(1).jpg)
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This exhibition is a proposition. That art should be more like cabaret, a category optimistically defined as a risque entertainment that absorbs and harbors the fringes of culture, an ideal art that would dissolve lip-service to post-modernity still aggressively holding on to the autonomous work. It's like championing spaghetti to replace diamonds. We would have to give up the authorial subject for the carnival. A radical happening transferring art to artifacts of a scene, and the entrepreneur as author. Maybe.
Satirizing the rules of production in the present isn't that difficult, even the mildest flatulence breaks gallery decorum. Turning the house topsy-turvy, the curatorial address of throwing it all in and letting god sort 'em out with song and dance.