“Viagra Paintings” by Pamela Rosenkranz in the “Museum” exhibition at the MMK in Frankfurt in mid-August
Picture: Frank Röth
Strange nouns and wild metaphors in labyrinthine box sentences: Why the current exhibition prose of contemporary art is doing a disservice. A guest post.
VA few weeks ago, American Marilyn Hartman was arrested at O’Hare Airport in Chicago. Once again she had tried to get on an airplane without a ticket. In the past year, according to the press release, she had flown from Chicago to London. Now the “notorious blind passenger” is accused of trespassing and is waiting for her trial in prison.
One could easily imagine Mrs. Hartman as an artist, her ticketless flight attempts as an art project. It seems almost a little surprising that she apparently has not yet come up with this idea. The associated catalog texts and gallery emails would be written in a few minutes. “Hartman combines strategies of civil disobedience with situationist practice and thus subtly draws attention to the field of politics. As a “stowaway”, she draws attention to the worldwide migration flows of sans papiers and the centuries-old dialectic of state surveillance and clandestine travel. “