RyanTrecartin

发布日期:2020-04-14   作者:亚洲杯外围   已浏览: 127次

Structuringhisartpracticeinthesamewayasadirectorapproachesfilmmaking,RyanTrecartin’ssculpturalandinstallationworkincorporatesacastofdozens.Conceivingeachshowasanexperimentintheatricalproduction,Trecartinconceiveslooseplotsasabasisforcollaborativeendeavour.Workingwithaposseofhisclosemates,Trecartindelegatesresponsibility:invitinghisfriendstoparticipateinthecreativeprocess,respondtohisideas,andcontributetheirowninputandartwork.Throughthisunorthodoxwayofworking,Trecartin’sworkbecomesanuncannyreflectionofyouthculture,presentingaGenYzeitgeistofcommodityanxiety,spiritualnihilism,andcommunityvalue.TrecartiniscurrentlylivinginLAasahurricaneKatrinarefugee;WorldWallwasconceivedasaformofdisastertherapy.WorkingwithfellowartistLizzieFitch,theprojectwasbegunasasimplewoodenfence.EnhancedthroughaseriesofMardiGrasfloatmakingtechniques,thisworkevolvedintoadiaristictributetoNewOrleans,ameansofengagingwithdislocationandloss.Conceivedasbothalocationandlivingorganism,WorldWallsprawlswithanimisticfervour,aseethingmonumentofchaos,festivity,rebirth,andbeauty.Throughthewindow,apicturecanbeseenoftheruinsofTrecartin’soldhouse.

MadewithJesseGreenberg,MangoLadywasoriginallyshowninRyanTrecartin’sexhibitionISmellPregnant,avastmulti-roominstallationincorporatingpainting,video,andsculptureasa3dimensional‘set’and‘narrative’rolledintoone.Facingthewall,shesquatsassomerepulsivevegan-hippie-fertilitytotem,allco-edhaircutandpendulousbreasts.Deliciouslyscabby,herentirebodyisplatedindriedfruit.Conceivinghisinstallationsasaseriesofpotentialsratherthanfaitsaccomplis,Trecartin’sworkopenlysharestheprocessesofitsmaking,eachpiecerelatingtothenext,formingafree-flowdialogueofstrategies,approaches,andideas.Hisfigurativesculpturesactas‘anchors’withinhisshows,creatingrelationshipsandconversationswitheachother,andprovidingrecognisable‘bridges’betweentheviewerandtheotherworkinthegallery.Positedbetweenthefamiliarandthecompletelysurreal,eachsculptureconveysacharacteror‘type’speciallycastforthescene.

RyanTrecartin’sworkteststheboundariesofauthorshipandcreativepractice.OperatinginSoSolidCrewstyle,Trecartindesignsastrategyandaestheticaroundcommunitydynamics.There’sLizzie,Jesse,Kenny,Brian,Rhett,andLindsay,andloadsofotherswho’vehelpedintheirownway,eachfloatingonandoffthesceneatwill.Orchestratingalargegroupofartists,Trecartinoffersaplatformofunitingvision,garneringvariouslevelsofresponsefromhiscollaborators.Hisworksareoftenentirelyconceivedandmadebyotherartists,whilesomeworkunderclosedirection,andotherscompleteprojectslike‘tasks’inagame-likesimulation.Trecartinalsomakesthingshimself.Presentingacommunalpracticedevoidofego,Trecartinsubtlybuildsacommunityvision,basedoncollectivevalue,spontaneity,andmutualsupport.Motherencapsulatesthisharmoniousspirit.Oversized,andslightlyCharles-Ray-perverse,shetowersasamatriarchofDIYsplendour.Rakethinandpapiermachelumpy,herperfectionliesinRhettLaRue’sbesteffort.

亚洲杯外围Weconsumeandconsumeandpuke,morethanfetishisetheobjectsandinformationweuse.RyanTrecartinexplains,Wedon’tactinsideoroutsideofconsumerculture,entertainment,orartculture,weconsumeandtranslate,we’reaby-productofit.EachofRyanTrecartin’sfigurativesculpturesreadlikeTVsitcomcharactersgoneterriblyawry,horriblecasualtiesofmediaoverindulgence.Typecastandtoofamiliar,theirphysicalodditiesbecomegleefuljibesattheirdumbandpredictableexpectation,liketheresultofasatiricalwritertakingrevengeonhispopularcreations.Despitetheinitialrevulsion,there’stheoverwhelmingurgetocheerasVickiVeterinarian(madebyBrianMcKelligott),aPetRescuedo-gooder,laughswiththin-veiledchagrinasshe’spenetratedbyherownpussy.

RyanTrecartinconceiveshisexhibitionsasakintotheatreproductions:theactualartworkistheshow,hissculpturesexistasprops,memorabilia,orspin-offsrepresentingtheircontributionstotheevent.Hisfiguresmillaboutthegalleryaspotentialviewers,amotleycrewoffreaksandwierdos,anexaggeratedandhumorouscross-sectionofsociety-as-it-is.MadeforhisISmellPregnantshow,AbrahamWiththeLongArmistheresidentjerk.Givinglampoonportrayaloftheprototypicalafrowhiteguy,he’sallreachy-gropygross,ageneticaberrationbredforlechery.

RyanTrecartin’ssculpturesarederivedequallyfromthestructuredformalismofartandthemessystuffoflife,materialsandcircumstancesoftenconvergingasnarrativesofcoincidence.InspiredbytheflowerpaintingsofhisfriendGeorgeMcCracken,HerPuffyPoof(madebyTrecartinhimself)isdesignedasanalternativeplinthandconceptuallandscape:itsgraffitiedpotsproutingindustrialtubestems,blossomingwithGeorge’scanvases―theirbacksfurtheradornedinacraftycopycatmannerwithrocksandbitsofplants.Itstitleisderivedfromtheparticularsmellacertainfemalefriendtrailswhensheleavesthebathroom.Incorporatingthewoman’sperfumeandshoesaspartthesculpture,TrecartinweavestogetheraLittleShopofHorrorsstoryofmagicalassociation,hispunchline:Puffypoof―spray―andshe’sgone!

RyanTrecartin’sfilmAFamilyFindsEntertainmentisacampextravaganzaofepicproportions.StarringTrecartin’sfamilyandfriends,andtheartisthimselfinaplethoraofoutrageousroles,AFamilyFindsEntertainmentchroniclesthestoryofmixedupteenagerSkippyandhisadventuresin‘comingout’.Inthisoverthetopcelebrationofqueerness,Trecartin’sfilmminesthebizarreandendearinginanunabashedpasticheof‘badtv’tropes.Cheesyvideospecialeffects,dress-upchesscostumes,desperatescripts,and‘afterschoolspecial’melodramacombineinthefluencyofyouth-culturelingo,reflectingagenerationbothdamagedandaffirmedbymediaconsumption.