Go To Jail Art

1 Apr

Look at this and it’s facts. When guys or whatever exit prison after a really really long time it’s been like aha statistically proven that they fall in love unconditionally no way back kind of thang with girls or whatever same age as the inmate was when he got locked up. Yup, tattooed all over the place, skinny and guilt ridden out looking for babes twenty-five years younger [OMG look whose talking]. Great.

Look at this too, one wonders why some kind of personality, women or whatever fall in love head of heels, deeply convinced with inmates, prisoners, jailbirds yeah with all of the whatever they are called. But why? But why? Why fall in love with a dude doomed to decades in Sing Sing – which would be quite cool, or worse with some lowbrow BS thug rotting away in a small town correctional facility in Kumla or Switzerland. This is wkd. But wow, art made with inmates that’s even worse.

I don’t care whatever, some silly senior waiting for his locked up girlfriend, OMG – not if some size D bra [as in dramatic] honey pie that feel in love with Steve the convict already before acne age. No way, I mean the real shit, men and women that fall in love with inmates tout court, and gosh I love them [that’s what I do – fall in love with men and women falling in love with men and women imprisoned – who’s a perv now?], but still why? This is irrational to begin with, and aha we know love is something we do, anyway why wouldn’t the prisoner have figured it out – to fall in lourve with a quarter of century younger chicalinda is gonna be trouble and it’s not gonna be nice trouble, and the other way around, relative capitalism, to fall in love with a prisoner is like stashing your matrass with money and hope for interest. Dead capital, schtupid, but… and they might just be closely connected – they still do it, they still do it again and again.

Concerning the inmate, when on the inside he or she is closed off from reality, access to certain capacities is denied. The, let’s say babe that he doesn’t have access to on the outside becomes a thing that the inmate comprehends without ground, time and context is withdrawn or subtracted – the object of desire, however abstract, become “pure” intensity without being. The being part of the female is removed, cancelled, annulled and there is only “doing” – comprehension left. Kind of like, there’s only womanness and no woman, there might be a lot of sex but nobody having it. Blim blam, this is the price to pay for pure and wonderful comprehension, or call it phantasy – you’re doomed to fall in love again and again with what the thing as intensity.

Let’s turn it around, the same goes for the one falling in love with the inmate, that obviously and of course must ditch the guy when he exits the can, which might or not be sweet: the moment he exits the can and gains ability, when he can again, the one on the outside can’t any more… what a dance, cancan. But first, why would anybody fall in love with somebody that’s locked up for the rest of his life… and why would anybody fall in love with somebody that’s looked for the rest of his life because he stabbed somebody – or like a bunch of supermodels, fifty-one times in the chest, including the eye, ate their hearts raw with sushi rice and low sodium soy, didn’t even bother to do something weird like you know, some fucked up code written in blood or liked waxed the supermodels’ legs before dumping them outside the Polish embassy, and OMG got caught driving a stolen Daihatsu. Check it out – I said baby some day luck comes in your arms – there is a rational here, namely it’s not the deeds, not the actions, not the spectacle or even love out of pity, you remember the Daihatsu. Nope, the point is to disconnect the deed from the man, the comprehension part from the being part. Love is blind, probably true but in this case blind can be seen as voluntary, self-determined, aha. Yes, you fall with the man, not the the the deed, you fall in love with the being part and abandon the comprehension part, the doing, the action. Exactly, you fall in love with being pur and eradicate intensity. It’s fuckin brilliant, you fall in love with the man and not that BS macho schtuff, chew on that Amigo, and it’s brilliant cuz what you love – being – is exactly void of risk, chance and danger, you can love endlessly and as much as you like since being, so to say, isn’t exactly able to escape, ditch you, be unfaithful and so on. What you dig when you fall for a prisoner is being without intensity – the man, the sex, the love, the smell whatever but aha there is no doing, no engagement – a love completely static and hence at least trivially perfect.

Yet, both the prisoner out of the can and the lover of the jailbird in side are quite phab, they might sound fucked up and somewhat self-obsessive although in two different ways. They are awesome as they kind of separate love from like, if we consider that you love somebody for the way they are – being – and like somebody because of what they do – intensity. It’s tidy, fair an no blurry double speech. I mean the individual in love with the prisoner – being – is not about to say: “Well you know, lately I feel that we’ve grown apart…” and the great thing with the convict out of the joint is that he likes all young women equally as long as they coincide with his comprehensions, with a certain intensity. In other words, the inmate likes what the thing is in and the so called crazy-ladies are in love with what is in the thing.

Now look at this, what about art? Art is certainly great and amazing, more of it totally, the fucked up situation is that art today tendentially is asked, demanded, forced, desired to be both being and intensity – it should both be art as in the sense of “autonomous” being and know itself as intensity, i.e. it should exists as such and be conscious about its own being at the same time, but check it out, not possible not even a little bit possible. Something cannot be itself and know itself at the same time, something can not maintain itself as that which is in the thing and that which the thing is in. No sir, that’s some sort of Hegelian absolute, some fucked up metaphysical existence that not even Lovecraft dare de-de-describe. Bring in a mirror, and hocus pocus what do we get, yep – an art that is both and at the same time autonomous, i.e. is without determination, and is politically intensive or engaged, i.e. intensive without determined, object. Or in other words an art that at the same time should be art and not-art. Obviously an autonomous art can’t simply and no way perform a politics, and it doesn’t matter if this darkness of general NL is posed by art councils, curators, policy makers, more curators, artists, teachers, scholars [oh no not Goldsmiths again], biennale offices, socially engaged artists [stop them now – and spit on Woody Allen too], it is never the less fucked up and produce an art that is both conservative and valuable for something determinable. Nausea alert, and jezuz, this implies an art that’s like design, – beautifully useful, aha – something like a bad wine being opened with a beautifully useful corkscrew suddenly transforming the shit wine into a Chatieau Lafite.

Go away, go away, curse – art needs to go to jail, yep on the double and both in the sense of Monopoly and metaphorically to the beginning, to the eradication of resources, to uselessness, a waste of time and the whole lot. Check it out just because and art is not useful, it doesn’t say that it doesn’t do a lot of things to the artist, spectator, viewers, museum bosses, curators, magazine, politics, social injustice, the world, the universe and so on, but the moment when art does or wish to determine what it does it has a problem, it becomes good or bad, what matters, comparable, a matter of investment and affordance and what is it then… if not – helpful, nice, sympathetic, diplomatic, didactic, didactic didactic. More over it means that art also can or must be judged in respect of, funded in respect of, approved through etc. it’s usefulness, it’s functionality and respect for and of society. No no no, an art should and must be utterly useless, it cannot and must not keep anybody busy – I must not know what it is good or bad for but it will and must also and at the same time provoke comprehension, responses, relations, irritation, pleasure, anger, sleep, political upraising, revolution, neoliberalism, love and so on and that’s all superb and amazing. Art can not not be comprehended but it’s job, or responsibility, is not to know and determine determination, when it does it seizes to be art and art specific.

Art needs to go to jail. It can only and either be art as being – autonomous and useless, perhaps also harmless – as in the sense of the prisoner with which you fall in love – and certainly art is institutionally inscribed and imprisoned but it can be in more than many ways – and never mind if it wasn’t – what what what – yes and it is totally fine [art obviously deeply need institutions whatever they are called Tate modern, art councils, dance venue, iTunes etc] – and on the other hand an art that is “pure” intensity which the prisoner now released like, adore and worship without selection – namely comprehension or politics without object, without circumstances. Now, just because art need to go to jail no matter what, that doesn’t not mean the artist, somebody producing art whatever that is [except theatre which we shouldn’t do at all and is certainly not made by artists], should be anything else than deeply and utterly engaged in whatever he or she likes and feel urgency in respect of. Just because the job of art must be to be useless no matter what being or intensity, doesn’t say that the artists’ job is the same – rather the opposite – hyper conscious about what artistic production implies, politically, socially, ethically, ideologically, fluidity, economically, reformist, revolutionary, poetically, historically, in relation to a bit of smoke and so on until the end of it all. But just because I know what I’m doing doesn’t say that the art produced should be causal to that knowing [obviously whatever knowing, physical, sensual, spiritual etc.], in fact it shouldn’t in any respect what so ever [art is not there to make the viewer admire the author]. Art, especially in respect of NL and semio-capitalism must be sent to jail, it must give itself permission to evacuate economy [which is not the same as exiting art markets, they are fine and they are not dealing with art but schtuff], negotiation, affordance and investment, context, policy, friendship and most of all belonging and identity in order to produce new or other kinds of experiences, produce difference in kind, if not it will be stuck in what is already possible, inscribed, fine, digested, perfectly Starbucks, difference in degree, different with a c, bailed out, business minded and so on. Art needs to go to jail in order to maintain its structural simplicity, its n’importe quoi – it needs to allow itself limits, or it will fall into the poisonous territory of strategy, making it causal to something that matters more or less, less or more, to value which is always opportunistic to some power. Go to jail, and do it now. The production of limits, which is not to dismiss, evacuate, eradicate and so on, limits between being and comprehension, not limits between this or that identity, no fuckin way, limits of with bearing on ontological characteristics, these are limits of existence not about life or consciousness, or good mood. Art needs to go to jail to save itself from politics, policy, performativity and polite causalities and most of all from vague instrumentality and the politics of ethics, inclusion and good life. Art is not alive, it doesn’t have life, it exists and it doesn’t care. To love art is like loving somebody you know you can never have, the love of a being no matter what.


One Response to “Go To Jail Art”

  1. Anonymous April 13, 2013 at 15:18 #

    Waiting for your new post…
    [zombie writer]

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