(Now I completely understand why some teachers are privateering photography expertise in art schools : photography is defenceless against the manipulation of the anonymous experts I met a few years ago)
In Dei nomine feliciter.
Natura artis magistra.
(In kunstscholen: ‘Artificium artis magister’).
“The main thing is to study pictures and stop listening to the pontifictaions of photographers. Photographers aren’t oracles of wisdom. If they’re good photographers, then take a good look at their pictures – what else do you need?”
Andre S. Solidor, alias Elliott Erwitt.
Ik draag dit boek op aan de vrienden voor en naar het leven.
I got recently overwhelmed by the partially glued photo-products of a hardly and badly known, dungerlish speaking person. Airgla Kadalano was born and worked her way through the sewer system of the metropolitan urban space of Sauerheim, in a country, known for its famous Pyrosis-wine.
After a rather ephemeral career in the National Navy (NN), during which she earned her degree as a Meister-Korporal (in accordance with male ancestors) she headed elastically towards the Brussels’s Art Scene (bas.com), where some people welcomed her sharp acid-driven analyses. As an expert herself she invested in urban networks and in the cobweb of a extremely elastic archive of grey iconographic images. She also turned out to be the most eminent partner in addressing the complex issues involved in developing and maintaining art-community’s solid waste. The weight of the corpus itself is nevertheless limited to the grammage of the (sponsored) rank xerox standard paper, eventually characterized by the density of (sponsored) interior adhesive. Along with the modest non-critic Guillaume de Vuylebecque she likes to play with topics concerning metarealistic ambiguity, double identity and the perceptions of the blind believer, especially in matters of spatial interventions and subsidizing administrations.
More important anyway is her vocation as a morbid missionary of the actual conception of collectable art-products. Susan Sontag, who to my modest opinion was a real woman of proven valor, already predicted in ‘On Photography’ the changing specifications of photography, once allowed to appear in a museum. What Sontag meant as an honest evolution in the appreciation of non-functional photography, is dishonestly copied by this intriguing researcher. The person’s complete shortcoming of integrity is quite illustrative and symbolic for the ‘Stand der Dinge’ in Brussels Art Scene.
To be dropped for now. Further treatment options will soon be available, I promise.
From the famous Tarara-series (to be continued in the Icocorico series)
