{"id":1573,"date":"2012-07-14T23:49:06","date_gmt":"2012-07-14T23:49:06","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=1573"},"modified":"2012-07-15T17:15:09","modified_gmt":"2012-07-15T17:15:09","slug":"ok-from-the-beginning-again","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=1573","title":{"rendered":"Ok, from the beginning, again . . ."},"content":{"rendered":"
\"\"<\/a>

Joseph Strau, Exercises ab initio<\/p><\/div>\n

\u201cJosef Strau A former proprietor of well-regarded project spaces in Cologne and Berlin as well as an artist. Strau is known for combining aspects of automatic writing and automatic drawing into installations and sculptural ensembles that often include household furnishings\u2014most notably lamps, which are something of a signature element for him.\u201d<\/p>\n

That\u2019s the dictionary definition of Joseph Strau you can pick up at Greene Naftali, where you can inhabit his new conceptual installation until Aug. 10. That hand-out made me laugh when I got it home and read it, and laughter is so often my response to contemporary art, whether I\u2019m laughing with the art or at it. Bottom line: I kind of liked the show, but I\u2019m liking the guy who appears to be behind it even more than what he\u2019s done here. If he\u2019s real. Can you tell anymore? The ethereal quality of show makes you wonder if it\u2019s all just a put-on, but I\u2019m going to assume it\u2019s sincere. It appears to be about recovered innocence, and it has a sense of rebellious spirituality you could trace back through the Hippies and Beats, on backward through Thoreau and Emerson and Rimbaud, all the way back to Blake and Wordsworth. It also reminded me of Aldous Huxley\u2019s experiments with drugs and conclusions about the mind in The Doors of Perception<\/em>. Anybody who\u2019s a friend of those luminaries is a friend of mine, and Strau appears to have whatever visa is required to work in their neighborhood.
\nYet the show offered little in the way of visual pleasure to draw me in. Like so many shows I saw this summer, it hinged on writing\u2014so I\u2019m surprised that I didn\u2019t turn around and head down the street, since words are exactly what I try to escape every time I paint. But I was intrigued. The gallery looked like a fraternity after a series of 3 a.m. misdemeanors. I laughed when I glanced around the place. The joint looked pretty casual and morning-after, with lamps and\u2014most notably lampshades\u2014scattered all over the gallery floor. On the walls were large sheets of paper with shaped columns of type, the sheets of paper hung with those little triangular clips you buy at Staples, the ones that fold their wings back so you can pry them apart like those clothes pins with wire springs. These big sheets of paper kept lifting off and falling back to the walls, like laundry, as the air currents shifted while the air conditioning tried to battle the stifling heat outside. Unfamiliar sounds kept coming from the lampshades on the floor. I wandered over for a closer look and saw that little iPods and Sony speakers had been wired to the lamps, so that they could give off their playlist of ambient noises. The artist was using the lamps\u2019 bulb sockets to power speakers rather than light bulbs. And the speakers were set into the lampshades so that the shades worked like megaphones. Again, I laughed. Shades that dampen light were used to amplify sound. Nice counterpoint there. But what was the actual point?
\nI walked up and read some of Strau\u2019s prose poems and looked once or twice at the acrylic images on Plexiglas, though they all looked more or less alike and didn\u2019t divulge much, visually. The prose poems kept me reading until the end. Here\u2019s a condensation of one example, without the line breaks of a poem. You have to stay with it. In this bit of what he claims is \u201cautomatic writing\u201d rather than just a first-draft journal entry, Strau refers to a pair of interesting figures by turning their names into invented adjectives: Swedenborg and Oblomov. One was an eccentric mystic and the other the protagonist of a 19th century Russian novel:<\/p>\n

One of the ways to articulate this smooth and thin path between the Oblomovistishe and Swedenborgishe attitude in any case is to give up willing and to submit to spirits instead. This notion is greatly indebted to the American spirit of working as I often observed many are not even aware although they practice it every day. The calling of a spirit is hallelujah. FAME, oh how stupid is fame and even more so to work for it. It is great when one is young and starts life and starts a project but it is stupid as it slowly turns into envy and then is slow brain demontage and ends in the bureaucratic spider net with all its works eaten up by it. Your fame . . . no . . . in exact terms, your desire for fame is what binds you . . . and makes you the slave of the daily have-to\u2019s. . . . .the daily have-to\u2019s . . . you help them become stronger and bigger everyday until one day you will die with them, which is not so bad, but you will not have anything else. Like a tree in a dry land . . . what a relief instead to find a community of nobodys and people to whom you yourself are even more a nobody. Oh spirit of David, king of poetry. Oh spirit of Montezuma, come down and save our old land abundant in sprit and of pure life, water, sky and respect. Oh spirit of the Americas, throw these evil spirits of Europe out of our old and spiritual institutions. Save! That is the spirit of the non-productive attitude.<\/p>\n

Oh King David. Oh Montezuma. WTF? This isn\u2019t great writing but there are winning hints of Whitman and Ginsberg. First draft quality notwithstanding, he had my attention. But why am I doing literary criticism in an art gallery? Swedenborg was an odd, but highly influential, Swedish mystic whose writings had an impact on Blake, Emerson, Innes, Balzac, Strindberg and Yeats. He was a visionary who promoted unconventional views of humanity\u2019s spiritual nature\u2014like Tolstoy, another wise old crackpot, he believed he could re-interpret Christian scripture in a new way. Oblomov is the most famous creation of Ivan Goncharov, a Russian novelist. His fictional protagonist is a young man who refused to engage in productive activity and, for the first 150 pages of his novel, doesn\u2019t even get out of bed. Now that\u2019s an act of subversion I can get behind. In this show, these two figures seem to symbolize Strau\u2019s own personal experience, as he describes it in the gallery press release:<\/p>\n

In the period before the exhibition, the artist withdrew from human and social conditions and situations. As if thrown from an airplane over a desert and experiencing a surprisingly soft landing, the artist felt a short moment of extreme worry and fear then suddenly found himself in the middle of paradise: the neighborhood park close to his house where he found small things on the ground or in the bushes. Following this experience, which he could only call paradise as he never developed a language for these small worlds, his life in the big world could accordingly only be called hell.<\/p>\n

OK, now I love this guy.<\/p>\n

Although he was not becoming a real participant, he felt that he had been chosen to be a passenger who would walk, ramble, and promenade through the different spheres inside and outside the great park. He had started believing that the ignored beauty of the neighborhood would in fact be the perfect earthly place for him. At this point the artist\u2019s work suddenly fell under the influence of the garden and the flowers as the walks turned into exercises, often done in the hours of dawn.<\/p>\n

All of the material in the show is a result of coincidence, rising from non-productive attitudes, leading to a devotion to randomness and so-called \u201cinner voices.\u201d The artist began to praise the day, the early sun, and the influx of the voices in the neighborhood after so many years of praising the dusk and the nights. Several texts for this project, including King David Invoking and Montezuma Appearing, describe experiences with both inner and exterior spirits and have been used in similar forms in other works. The artist believes that there are very obvious, strong similarities between David and Montezuma; not only are they both kings of great lands, but they also share a legendary and mysterious influence in the kingdom of poetry as well as an intense ability to revolutionize and reform their nations. Another older text also used in this project, And Then I Fell from Hell, stands for the very beginning of both the neighborhood and the American experience, extending the praises of the day and of the neighborhood to the entire country in general and trying in so many ways to express gratitude for having taken part in it.<\/p>\n

Strau seems more interested in experiencing states of consciousness and awareness than in creating material objects to transmit any of it. Which is a nice way to excuse oneself from all the nasty labor of actually making art, but you have to admire his nerve. Carry on, Oblomov. It\u2019s what\u2019s both admirable and problematic in this show. In another bit of writing on another wall, he talked about moments of preparation for the exhibition as \u201cmoments of pure undecided happiness.\u201d I like how he circles around the idea of completely putting aside all productive aims and purposes and becoming what Emerson would have called, in one of his least felicitous phrases, \u201ca transparent eyeball.\u201d As Ralph W. put it in the 19th century: \u201cI become a transparent eyeball. I am nothing; I see all; the currents of the Universal Being.\u201d Strau seems to be trying to convey a state of awareness that simply absorbs everything without discrimination or judgment: what the mystics, in all traditions, talk about when the self drops away and what\u2019s left is, at least at first, a state of fascination with, well, everything. Strau also talks about trying to make art that is nearly immaterial, which is why this show is heavy on the writing: you can\u2019t get much less material than that, unless you just play some Mozart to an empty room.<\/p>\n

The only issue I have is a big one: as much as I love the spirit of what he\u2019s trying to convey, the way he gave form to his ideas didn\u2019t leave me wanting more. If Strau had printed up his text and published it as a book, with a few mp3 files to play while reading the prose poems, I\u2019m not sure I\u2019d be losing much. The arrangement of lamps on the floor didn\u2019t illuminate a whole lot for me. And though I\u2019m eager to see and hear more of Strau\u2019s work now, I took away from this show pretty much an attitude, which could have been conveyed in more lasting ways\u00a0 than this gallery exhibition. But I appreciated how his show invoked a kind of sincere, though unconventional, spirituality not much in evidence these days\u2014especially in the other shows I visited in Chelsea and elsewhere in the city. The other ones drew content from religion and faith, mostly in a snarkier and distanced way. There\u2019s a certain kind of spirituality I take for granted when I listen to Sufjan Stevens or even Jack White, who still considers himself a Christian\u2014it saturates the songs as a kind of energy, while the songs themselves are \u201cabout\u201d other things. The artist\u2019s faith is there in the background as a structure that gives vitality to the work. It isn\u2019t the subject of the work. I want the craft involved in the work to convey an artist\u2019s spiritual intuitions, subliminally, if there are any to be conveyed: that\u2019s the whole magic of art. What\u2019s ineffable somehow gets drawn down into something that appears to be purely physical, a painting, a piece of marble, or the sequence of vibrations in the air called Beethoven\u2019s Ode to Joy<\/em>, say, at the end of Tarkovskiy\u2019s Stalker. Next time I have the urge to feel the euphoria of childhood again I may go to back to Rimbaud or Blake or Whitman for the fiftieth time. Strau wants to offer art that is almost entirely disembodied, purely conceptual, but art for me works in exactly the opposite way: it\u2019s an intense physical embodiment of realities that otherwise aren\u2019t physical. I want more than ideas from my art. I want the mystery that lives in the sound of Whitman\u2019s wording or the amazing ways Blake could employ watercolor to visualize states of mind or sexual relationships or phases of history and still, simply in the physical qualities of his imagery, lift you out of your ordinary, bored state of mind to remind you how innocence once felt and can feel again.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cJosef Strau A former proprietor of well-regarded project spaces in Cologne and Berlin as well as an artist. Strau is known for combining aspects of automatic writing and automatic drawing into installations and sculptural ensembles that often include household furnishings\u2014most notably lamps, which are something of a signature element for him.\u201d That\u2019s the dictionary definition […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1573","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nOk, from the beginning, again . . . - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=1573\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ok, from the beginning, again . . . - represent\" \/>\n<meta property=\"og:description\" content=\"\u201cJosef Strau A former proprietor of well-regarded project spaces in Cologne and Berlin as well as an artist. 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