I accept the self-aware, tongue in cheek quality of the project, rejoining the announcement as a metonymic gestureand endgameconcerning the possibility of therapeutic modalities in an artworld of ironic affect. From the sound of it, there was more personal insight and self awareness, a meditation on the creative impulse. That is better than a hashed-out displacement on “an obvious inferior.” In all fairness, anyone might appreciate “having too many strangers in one's house” (even when the housekeeping can't compete with impeccable European bourgeois standards). I'm not saying so much about this project, but the whole mode of being is really toxic, don't you agree? By saying so highlights a contentious form of European bourgeois toxicity (or is it really an artworld overcompensation, really?). If your existential proclivities disallow the term morality, which isn't really very useful all the time, toxicity is a pretty useful substitute, correct. Modes of insight such as these are useful in terms of ironic affect, in order to turn the corner semiotically. One needs that edge, but more importantly, the turn, in order for the material to serve a useful function. So this is “opening a window” (a rather fragrant American colloquialism, actually) to a useful form of critical analysisan ability to assess social valueit's beneficial qualityin terms of detractors questioning social value. It raises some interesting issues in terms of abstraction and the unspeakeable, perhaps from the advent of the Koln scene content, preceding Berlin's. It becomes an ode to Kippenberger really. Notations on how perversea Kafkaesque self-awarenesson how perverse it is, thanks to the luck of randomness in genetic fitness as it regards homosexualityto find oneself repatriated in the motherland. In many senses it is similar to being born innocent in a country whose particular social history bears the mark of past tragedies. And it parallells present social histories in other nations as well.
On a different subjectI can't think of any way of saying this without sounding strangeI enjoyed the 1969 show at PS1, and the recent showsprobably the feminist videos the most in particular. Having identified with PS1 in the nineties as a “Brooklyn pioneer” it took some time to accept a changing of the guard subconsciously, I realized...“back when museum spaces were more of a queer place ”to be.“ It is a more modern form of curation (while always grateful for Heiss' legendary social egalitarianism) now. It's really beautiful in the PS1 building. Hopefully this is a useful epistolary note on some level, in terms of that transition. Interestingly and humorously, thanks to the wonders of postmodernity's replicability of social forms, Sometimes one finds oneself devalued at the hands of ”the new theorist/belongers" when you were of the same type ten years previous. The type of turnabout humor Berlin would enjoy, perhaps, especially vis a vis this project in particular in the present tense.