THE LAST SHOW
Six D.O.G.S, 15-22.02.2015
The “Last Show” is an exhibition borrowing its title from the publication entitled “Hope and Violence in the Last Spectacle”, in which G. Agamben discusses the contemporaneity of the “Society of the Spectacle” by G. Debord. The show is composed by works in various media such as painting, installations, digital prints and a sound installation – placed around the traces of a central performance that will happen on the opening night. By using the logic of appropriation, the works bring up ideas such as the representation of lack, the aesthetics of silence, the inability of the image and the relationship of art to entertainment and consumption. The “spectacular emptiness” mentioned by Agamben in his work is reflected, therefore, through the set-up of the landscape of an absence.
THE LAST SHOW
Six D.O.G.S, 15-22.02.2013, Athens
The “Last Show” is an exhibition borrowing its title from the publication entitled “Hope and Violence in the Last Spectacle”, in which G. Agamben discusses the contemporaneity of the “Society of the Spectacle” by G. Debord.
The show is composed by works in various media such as painting, video, prints and a sound installation – placed around the traces of a central performance happening on the opening night. Photos taken from the “Scene & Heard” column of Artforum Magazine, a foundational publication for criticism in the 60s and 70s, are printed on blotting paper using diverted at-home printing techniques. Patterns and shapes taken from Photoshop - the checkered canvas, the explosion - are morphing into paintings and sculptures, and Johannes Ittens’ Color Wheel is painted over in grey. On the opening evening, the performance consists of a clown entertaining the audience for an hour, coming as a gift for any order over 30 pizzas. His performance is recorded through a GoPro camera and is then played over in a loop for the duration of the exhibition. The remains – pizza boxes, wine bottles, balloons – stay present on the central table in the middle of space.
By using a logic of appropriation, the works bring up ideas such as the representation of lack, the aesthetics of silence, the inability of the image and the relationship of art to entertainment and consumption. The “spectacular emptiness” mentioned by Agamben in his work is reflected, therefore, through the set-up of the landscape of an absence.