Monday, January 29, 2018

Matias Faldbakken at Astrup Fearnley Museet


Do you recall, in the smoke of Matias Faldbakken's rocketship ascendancy the artworld was left blind scrambling to adhere a politic for it, to make a critical foundation for the artworld's hot new power iconography, unable to accept that how it looked, rather than any little content it contained, was its appeal. Who in that moment didn’t want have to their big fuck-all paintings and sell it too.  Objects representing the 101 ways to say "no." The ironic self-awareness of Faldbakken’s sculpture, like Fontaine, made its recycling of an already co-opted language acceptable, the viewer being smarter than the sculpture was a sales value added.  The comedy today: after such years of "negative expression" one is now looking any such ways to escape the bed one lain. "His artistic practice previously revolved around the concept of negation as it is expressed in avant-garde art and underground culture."