Ok I went on holiday, weird for me and weirder still we went to Tuscany- where the combined voices of Brian Sewell and Pablo Bronstein seemed to accompany us around the exquiteries in the glowing Tuscan light - they seemed to say at every turn.

"Oh quite superb, just travelling around Tuscany with nothing but a battered old panama and an even more battered Badeker" and withering critics of slightly overly bright frescos.

"Don't even look it's been hideously restored - worse than a Michelin starred restauran" etc etc. Tuscany does have that rather painful association with a certain English and plumy artyness and in between the Americans loudly discussing their prefered varieties of tooth paste those English Grand Tour styled visitors were bumbeling away.

Despite the live experience of seeing these things being stunning, almost shocking - I was also really conscious of the way i had always previously seen of these works, in books they are always divorced from their borders/context, the relationship to other images and artists, cleaned up and presented like canvases in white space but in reality they are much more interesting.

In reality these things would have been massive visual overloads, multiple images in different styles by different artists, surrounded by patterns, faux and real marble, ceramic and plaster, gold and silver and in a church with 3d objects in front of them, half in darknes and of course in the day accompanied by a full on live glitter sensaround performance in a language that the audience and indeed - in the UK - the priest generally didn't understand. Maybe not so different from what Agrifash is trying to do.

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