[ TBA:08 ] As part of the TBA Festival PICA’s Kristan Kennedy has curated an exhibition titled The New Absurdists. The provocation that there is a movement at work herein is a palpable one. Jacob Hartman’s wonderfully overdone _______Head is a great entryway into an exhibition that is otherwise a passage of time. Kennedy has most certainly captured an elongated aesthetic, ensnaring several artists within one bite. Most of the work here, while topical, may only be time-based as in its relationship to the fest, literally. In this light, what is captured is the essence of the moment, temporary expression via cheap, easy-access materials. Color is used blatantly, and in its wake comes a raw by-product in the attack of its own physical, material nature. This odd show downstairs at the Leftbank (240 N. Broadway, viewable most days 12-6PM) is perhaps a sight for sore eyes (though you’ll have to go into the beer garden to smoke). Call me old-fashioned, but as a whole it’s perhaps just too ‘right now’ for me. Granted, most of this work is presented in a well designed setting of video booths, accented by sculptural objects. The overall feel is playfully farse and downright absurd. Yeah, it makes its point, and then some - that’s the rub, the tension here.

Part of this exhibition includes the Mike Kelley film I reported on earlier. The highlight in the two large rooms below the performance venue is certainly Jeffry Mitchell’s California. It’s just pure kitcsh and the cloud orgasm wallpaper is over-the-top. Justin Gorman’s Results Under Action (on view in other citywide locations) is a close contender by offering short isms that speak of the conceptual context of place/placement. Neither of these artists are strangers to the local scene, where we’ve experienced their work in multiple venues in differing forms, but they each make a distinct comment on the breaking point of capitalism and/or the poker-faced urban experience. Otherwise I couldn’t consciously connect with the work of Corey Lunn, Harry Dodge/Stanya Kahn or Tamy Ben-Tor, they just seemed to play to an Audience for Dummies, and the haphazardness of the Lizzie Fitch installation left me wanting to add and subtract parts and pieces. Don’t get me wrong, it is a playground for the spirit, just not at all high art by any stretch - and doesn’t pose as such. It’s the frivolous factor, the hijinks and goofiness that I find off-putting somehow. But that’s just me (or is it?).

I didn’t get to see the Ryan Trecartin piece as a mini crowd formed a clusterf*ck in the small space. Other work in the show had some moments worth the trip - but there is something unique to be said about the instantaneous improv motivation/bastardazation of video art as funneled say, ala YouTube. Adding to this, The Yes Men at PNCA (an extension curated by Astria Suparak) takes to corporate America on overload. I loved the every detail covered donut breakroom. Otherwise it’s pretty self-serve, leaving you mostly on your own to deal with what’s left behind - not unlike the greasy stains from the cruellers and jellies! There are connected outdoor events and activities, something that may appeal to a multitude of sensibilities. Portland PDX Art captured some snapshots of the exhibition as well. Despite my edge of criticism, Kennedy has captured the spirit of the place like no other before, this is by far the most PORTLAND show I’ve ever seen. For those in the know, well, you know.

Tags: Jacob Hartman, Jeffry Mitchell, Justin Gorman, Kristan Kennedy, Mike Kelley, PICA, TBA Festival, The New Absurdists, The Yes Men

This entry was posted on Thursday, September 11th, 2008 at 10:10 am and is filed under Screen, Sights. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.