TERRY ATKINSON & JEFFREY CHARLES HENRY PEACOCK
Primitive Propositions: A Proposal for Exhibition
4 April 2016 – ongoing
kynastonmcshine is delighted to announce the release of the third part of its ongoing project involving Terry Atkinson and Jeffrey Charles Henry Peacock, which can be viewed online and downloaded by clicking here or in the image above.
This element of the project consists of written responses by Terry Atkinson to significant clauses by JCHP (addenda to the organum written by JCHP in 2014, also for this website) on the subject of how to produce a critical form of exhibition making in the current conditions of the art world within conditions of Neoliberal governance and its global post-Fordist social nexus.
In this third installment, the following works are presented in this order: EXHIBITIONISM, DISTRIBUTIONISM, MARKETISM, PRODUCTIONISM, WEALTHISM, LACK OF WEALTHISM, by Terry Atkinson; COARSE WORK: PART I & II, by JCHP; JCHP & THE STUDIO, by Terry Atkinson; and, COARSE WORK: PART III, by JCHP.
The 2014 organum by JCHP asks if it is now possible for an artistic practice to side-step, outwit, or otherwise present a productive critical challenge to the current culture of what they call “exhibitionism” in the realm of art. The addenda written here put JCHP’s money where their mouths are in presenting a concrete proposal for an exhibition of work by JCHP. This proposal details many key problems in the very planning of such a proposal, not least how to understand a context for exhibitions where exhibitions themselves, as a key mode of distribution of art, have become a principal production apparatus of and as art. They ask: “How does an artist focus on the relations of the production of their work; the stuff that occurs in the studio for instance – shaped by problem-solving, trial and error etc. without the work being unduly shaped by the relations of its potential distribution?”
Terry Atkinson’s responses also explore the imbrication, blurring, and, often, total absorption of art production and art distribution into oneanother in contemporary practices prevalent in the past thirty years or so. By deploying his typical catatactical approach to composition, Atkinson is able to create vast bridges of argumentation across chronological historical time and across subject matter that demonstrate how the now normative figure of the AGMOAS (the Avant-Garde Model of the Artistic Subject) is a principal (and corrosive) ideological actant in the rapidly overwhelming schemata of Neoliberal governmentality and the ebbs and flows of late-stage entrepreneurial capitalism. He begins his newest essay with seven artistic categories that he argues are the most evident and consequential today to the state of affairs that he observes within the global art world; Exhibitionism, Distributionism, Marketism, Productionism, Wealthism, Lack Of Wealthism, and progenitor of all these, Advancedism. Of these Atkinson says: “The claim here is that the above six isms can be usefully taken to be both a fulfiller and repressor (a container) of aspiration in current art practice. What I choose to call here Ism-ism I also designate as the nominal characteristic category of the whole of twentieth century alleged advanced art production.”
Terry Atkinson founded Art & Language in 1968 with David Bainbridge, Michael Baldwin and Harold Hurrell. Jeffrey Charles Henry Peacock is the collective practice of artists Dave Smith and Thom Winterburn.
To view and download the papers please click here.
To view Parts I & II of this project, please click either of the images below: