The curious case of abstraction…
Curating a gallery show in the public realm might assume de facto legitimacy as established convention where artefacts, in this instance painting, can be encountered, challenged, and savoured for their capacity to reimagine, divert, or entangle? Conversations in Painting: ‘if it fits in the Fiesta you’re in…’ celebrates the milieu of post 1989 strategies for the production of artefacts and their positioning in the public sphere, particularly so for the opportunity this opens up for a pertinacious rethink about abstract painting and materiality. Probing the further possibilities for abstract art positions itself as an estranged lobby group in the recalibration of fine art practices. Re-searching abstraction through the act of painting is doubly estranged yet assuredly insistent.
The title of the show narrates a further enticement – the precondition that each artefact selected for public critique ‘fits in a Fiesta’, a re-enactment that tips its hat to ideas formed in 1989, the landmark year when an emboldened ‘call to arts’ urged gate-keeper institutions in the UK to redirect the reach of their distinct cultural capital. This exhibition seeks to convey an unambiguous curating intent where current painting poses a different order of audacity.
The curating intent for this exhibition project has several core concerns: to substantiate the potentiality of shared discourse with self selected audience-participants; to evidence current practices that cherish less authoritarian transformations of public space; to test the extent to which sustainable artist networks/constituencies can be established, and; advocate interconnectivity in the production of artefacts and research practices focussing on abstraction/materiality. The painting work in the show, delights in its allure for slow moving continuities that gain traction in a complex geology of precarious subjects.