The philosopher Alain Badiou regards love as a construction of the perspective of two, starting with the very moment after which the world is experienced in a new and different way. A widespread understanding of romantic love is one absorbed in this miraculous and existentially intense encounter, which is sometimes compared to a state of madness.1 If looked at as a mere chemical reaction, it can be simplified as a set of neurotransmitters sending signals in the brain, achieving a high that resembles one drugs might provide; likewise, abstinence can lead to depression and withdrawal symptoms.
What is important to flag is that it is a show about femininity and the experience of being a woman but not a display of feminist art or art made solely by women artists.
How can ideas of participation and “vestedness” inform a long-standing art theoretical debate on the relationship between aesthetics, ethics, and utility, with reference to particular aspects of art practice?
In the text below, we discuss the presence of market as critic in reference to Zombie Formalism and its place in contemporary history, as well as the potential for evolving critical practice in relation to supporting emerging artists and engaging works of contemporary art.
My first exposure to many of the artists I’m really inspired by dates back to that time. I absorbed so much, and I often use triggers from art history to work from. I love that we can look back at a painting from the sixteenth century and still find in it something very important to us now.