"We're both stumbling around together in this unformed world, whose rules and objectives are largely unknown, seemingly indecipherable or even possibly nonexistent, always on the verge of being killed by forces that we don't understand."
In 2013’s post-critical moment value accumulates rhizomatically around artists, emanating in concentric circles around a charismatic personality like ripples in a pond. Artists have absorbed the roles of critics, curators, collectors, dealers and gallerists. We self-reflexively engineer even the success or “failure” of our own work. (Jaakko has asked me to negatively describe his work in this press release, therefore even disabling the virility of my critique in the first place).
Suitably, Allegra Geller is titled after a fictional game designer who masterminds the characters in the 1999 film eXistenZ. Jaakko presents a tender and somewhat self-deprecating video lamenting the “rules of the [art] game,” meanwhile coldly and stoically executing an exhibition that neatly confirms this thesis, treating the gallerists – maybe the truly earnest ones – as pawns and choosing to nonchalantly place meaningless objects around a room. Jaakko’s self-reflexive transparency does not indicate his sincerity, only its illusory nature.
If criticality is an outdated methodology, and art’s role as a cultural watchdog prescribing to some kind of overarching moral code is breaking down, what if artists chose to only accept criticism from people we loved and who love us? Is this proximal model inevitable? Anyway, do you ever stop to ask yourself why you are an artist? Seriously and sincerely ask yourself? Will you even allow yourself to ask that question?
Relax, it’s just a game.
– Sofia Leiby
Nu Painting (Documentary)