#lolhouse

Response to Jason Farago’s Guardian article.

Whatever Jason Farago’s Welcome to LOLhouse may be, it can at least be credited with not engaging in a hand-wringing, cultural relativism as to what constitutes good art.

He makes a strong case, that given the current issues facing the world, such an approach by the Biennale exhibition falls short of the social responsibility it must shoulder. Farago notes the glossy and slick downstairs section, where the now pop-cultural-neoliberal-studies cliché of the human body as ‘homo econimus’ is well visible. Behold, it implores the audience: ‘our bodies are simply another marketable product’. 

How deeply profound and new – no, wait, it isn’t.

Is there anybody who studies the world of art and culture who does not already recognize this and requires perfectly sculpted, lycra-clad mannequin-buttocks on display to be reminded of this fact? Here, we might pause for a moment and perhaps reply: yes, we do.

Enough with the softly-softly approach because it isn’t working.

The glossy and crass exhibits are a good start but nowhere near enough. Go big or go home. If anything, the Akademie der Kunste and other art exhibitions should embrace the ‘LOL’ even more. Invite Lady Gaga and her vacuous celebrity clones along to perform, festoon the room with whatever junk can be found on the street.

Saturate it with every trapping of pseudo-profound garbage that can be forced through those front doors

Force-feed us what we think we need, until we get sick of it, until we turn off the television and radio, put down our academically sound, broadsheet newspapers and directly work to solve our social problems

Art can work by delighting but it can also work through repulsion and disgust 

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