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Crisis in the Credit System is a four-part drama dealing with the credit crisis, scripted and directed by artist Melanie Gilligan. A major investment bank runs a brainstorming and role-playing session for its employees, asking them to come up with strategies for coping with today’s dangerous financial climate. Role-playing their way into increasingly bizarre scenarios, they find themselves drawing disturbing conclusions about the deeper significance of the crisis and its effects beyond the world of finance.

see Crisis in the Credit System

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apexart: resolving another boundary between art and business

* Some free advertising for a worthy cause *

 
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apexart
291 Church Street, NYC, 10013
t. 212 431 5270
www.apexart.org
 

apexart’s exhibitions and public programs are supported in part by the Andy Warhol Foundation for the Visual Arts, Carnegie Corporation of New York, Edith C. Blum Foundation, Mary Duke Biddle Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts.

This is a version of an article recently published in the Visual Artist’s Newsheet. It’s a response to a roundtable discussion titled ‘Creativity versus Commodity’, organised for Colin Darke’s exhibition at Temple Bar Galleries, Dublin, written about here. [February 8th 2008]

The Capital Paintings evolved from Darke’s earlier work, Capital, where the artist transcribed the entire text of Marx’s three volumes of ‘Das Capital’ onto 480 2D objects, all mounted in A4 laminates. With The Capital Paintings, Darke has returned to the previous work, reconsidering and re-presenting every piece in the earlier work as a to-scale oil painting on canvas, though removing the layer of text previously written over each object. Thus, ‘Darke flips the previous process, the ready made becomes the ‘unique’ art object, the banal commodity further commodified and rarified via its display in the gallery context’. (1) The format of Darke’s work replicates the Christmas ‘selling show’ it immediately followed, and promotes this obvious slippage.

Where Capital was perhaps a distant cousin of Marx’s text, the Capital Paintings are a familial relation at another remove from the initial work, and a further remove still from Marx. Nevertheless, he hovers as the invisible referent.

Sarah Pierce chaired the discussion, which, titled ‘Creativity versus Commodity’, set up from the very beginning a problematic polarity of these two terms. Pierce opened with remarks that questioned the usefulness of this supposed opposition, proposing the notion of a ‘circular economy’ that we are all implicated in, but it proved a difficult opposition to shift.

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