ex-Feng37 has been burning a posting storm through Canton recently, and I suspect he’s moved out of Fangcun and found a better stash of special-K from a higher class of Chaozhou motorbike taxi and is going all fickin’ 牛!! over Aftershock – Contemporary British Art 1990-2006, and that the British Council even slapped together a sina blog for the exhibition in Chinese.
Mislinked by 在桥下流 (that reminds me of the scent of piss flowing under the stinking haizhu bridge), this tranny rockstar space (yeah I try, but more like a tranny windowlicker lounge) is overjoyed that Guangzhou has put on such a show for me first with the documentary film festival, and now with a couple of my favourite artists all hanging out along the 珠江. I’m quite upset I’m in the wrong hemisphere though.
Pretty much every Young British Artist who has gilded the pockets of dealers and collectors over the past 15 years gets a look in, but who cares, most of them are conceptually vacuous crap with no sense of humour unless it’s irony. What I care about is Tracey Emin, as in love, sex, death … rape, abortion, drunkenness, sexual intimidation and violence, and Jake and Dinos Chapman whom I have wanted to screw (either one) ever since Zygotic acceleration, Biogenetic de-sublimated libidinal model.
Spanning the years 1990-2006, Aftershock will tell the story of how Britain experienced a revolution in contemporary art. During this period art became a hotly debated topic in the media as young artists injected glamour into the British art world; the art market flourished and audiences for contemporary exhibitions multiplied, culminating in the phenomenal success of Tate Modern, London’s first museum of international modern art which opened in 2000.