Memento: TOO COOL Fresh Window #1

"It hardly to be pointed out that the great museums of the world are mausoleums, dusty sepulchers filled with musty, pompous totems of snooty 'ideas' and pathetic 'feelings. Contemporary galleries are no better, serving as secularized temples for the effete and cowardly shallow, displaying the meaningless excreta of the terminally vain, all in all a bleak, status-shellacked landscape charted by impotent right-brained Critics who justify their inane observations by intellectual vivisection - intelligent, yes, but...

    

Face it. 'Good' and 'Bad' are interchangeable values, maleable and totally relative conceits, and as such, have NO meaning at all.

'FINE ART's' been dead since about 1923. Dada gangbangers, responding to the nihilistic and bloody politics of World War I, brutally dispatched it during their short-lived but merciless rebellion against Western Culture. Unfortunately, these dilettante assassins forgot to deliver the coup de grace to the body, neglecting in their self-congratulatory fervor of the moment to drive a stake through FINE ART's heart, cut off his head and burn the whole mess to ashes. As a result, not only were their tools of deCon-destruction transformed into tangible and valuable commodity fetishes, they inadvertentely bequeathed the future a situation far worse that that which they had originally contended."

(REVELATION X)

"There is no intrinsic difference between 'failed' works (i.e. those that remain unsold because their makers are unable to persuaded a gallery to promote them in the market) and those which become art upon the realisation of a exchage value.  

    But what if the work with wich an 'artist' and an audience are engaged does nothing for the economy? Such work does not feature under the umbrella of 'the Arts', it is necessarily dismissed - as amateur, as avant-garde, as 'not art', and so forth."

(TOO COOL 3; Pata-No UNLTD)

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©