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I came here to tell you the perfect love story, but all I can see when I close my eyes is a giant hand, about the size of a grown man. The hand is giving the middle finger and is teetering on the back of a small rowing boat, several miles off the Icelandic coast. It has been sentenced to death. The hand is hard to make out, not least because of it being an unusual sight to behold (on a boat too!), but also because it’s the dead of night, and there is only a thin slice of moonlight illuminating the scene. Just as soon as I have a handle on its precarious form, the image shifts, as the hand topples off the back of the boat and slithers into the anonymity of the icy black water. The execution has begun. The giant hand, still firmly locked in the middle finger position now begins to sink. As it descends slowly down through the dark water it never shifts from its defiant form, paying no heed to the bitter cold or awful white faces of the hunting bone sharks.
I came here to tell you the perfect love story, but all I can see when I close my eyes is a giant hand, about the size of a grown man. The hand is giving the middle finger and is teetering on the back of a small rowing boat, several miles off the Icelandic coast. It has been sentenced to death. The hand is hard to make out, not least because of
''Buckley hails from academic background – Anglo-American philosophy. Recognising this seems inextricably linked to at least starting to understand how he approachs the notion of making and displaying visual artwork. His deployment of the symbolic economies of scale, type and flow is guided and refracted through the skewed prism of an arrogant intellectual - a cryptic academic so full of knowledge and history that any sense of metastructure breaks down –exuberantly- like the old canon to which the academy once clung. But rather than chattering through the theoretical battles that defined a rather bloodless war fought in the pages of journals and dissertations that a generation of would-be intellectuals thrilled to misunderstand, he seem to move with a lightness of touch and a slickness of finish that not only invites misunderstanding, but seems to downright encourage it.''
(I(Remember that we sometimes demand definitions for the sake not of the content, but of their form. Our requirement is an architectural one: the definition is a kind of ornamental coping that supports nothing.)
simon buckley art simon buckley art s
Sehr geehrte Damen und Herren,
das 1822-Forum der Frankfurter Sparkasse in der Fahrgasse 9 zeigt vom 11.
November bis 20. Dezember die Ausstellung "SURFACE" von SIMON BUCKLEY
Wasser, Licht und Zeit bestimmen die Arbeiten der an der Hochschule für
Gestaltung in Offenbach bei Martin Liebscher und Julika Rudelius
studierenden Künstlerin. Wesentliches Merkmal ihrer Fotografien ist die
Methode der Langzeitbelichtung, die sogar die Erdrotation und Bewegungen
von Kleinstlebewesen sichtbar machen kann. Die Videos lassen den Betrachter
in die Dynamik von Wasseroberflächen eintauchen.
Zur Vernissage am Montag, dem 10. November, von 19 bis 21 Uhr, darf ich Sie
im Namen der Stiftung der Frankfurter Sparkasse herzlich einladen. Um 20
Uhr führt Marc Ries in die Ausstellung ein.
Mit freundlichen Grüßen
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