SPRING 2023 - A WORK NEEDS ONLY TO BE INTERESTING? - SOLD OUT

THE INTERESTING AS A REFLECTION ON THE SPECIFIC INADEQUACY OF THE REAL?

THE CONDENSATION OF ALL CRITICAL DISCOURSE INTO THE ELABORATION OF A SINGLE CATEGORY?

THE INTERESTING - A METACRITICAL FORM WITHIN WHICH ALL DISCOURSE ABOUT ART’S COMBINED CLAIM ON REALITY (THROUGH ITS MATERIAL PARTICIPATION IN IT (COMBINED WITH ITS SPECIFIC DISTANCE FROM IT - THROUGH ITS IDEALIZING, AUTONOMIZING, SELF-ENCLOSURE)) TAKES PLACE?

‘IS IT INTERESTING?’ (DOES A WORK HAVE A GREATER INTELLECTUAL CONTENT OR ENERGY THAN YOU?)

A JUDGEMENT OF THE INTERESTING: A DEMAND ON THE INTEREST OF OTHERS THAT HAS THE STRUCTURE OF UNIVERSAL COMMUNICABILITY (THAT CONTAINS A STRUCTURAL GAP BETWEEN AN INDIVIDUAL AND A (IMAGINARY) COLLECTIVE SUBJECT OF JUDGEMENT)?

INHERENTLY IMPERFECT? THE INTERESTING AS CONSTITUTED BY THE STANDPOINT OF AN IDEAL TOWARDS WHICH IT ASPIRES BUT DOES NOT REACH; ART’S INHERENTLY FICTIONAL CHARACTER AS A DEMAND FOR THE ACTUALIZATION OF ITS NON-ACTUAL CHARACTER - THE DEMAND THAT THE WORLD CHANGE TO BE LIKE THE WORK?

THE FUTURE AS THE POSSIBILITY OF CHANGE AND THE INEXISTENCE OF ART (THE FACT THAT IT EXISTS AS A FICTION) IS A CONDITION OF POSSIBILITY OF SOMETHING BEING INTERESTING - EXISTING IN A STATE BETWEEN THE IDEAL AND THE REAL?

IT’S THE RELATIONS INTO WHICH AN ARTWORK ENTERS THAT MAKE ART INTERESTING AND MAKES ARTWORK ‘ART’ - VIA PARTICIPATION IN, AND SEPARATION FROM, REALITY?