Regent’s Park, London, October 8, 2017
Dear reader, there is an incredibly fascinating artistic concept:
“International Art Fairs are super exhausting.”
Seriously, to visit in four days miles and miles of white spaces decorated with loads of things to discover a hidden masterpiece is heavy, stifling and a little smothering.
Mate, the most contemporary art is super prolific and mega productive. However, it should not frighten you, it has happened before and Art and Culture came out of the rut. In the end you just have to polish everything a little bit and have enough patience to overcome, without going crazy the phase of screams and whispers that always appear when an artistic cycle is exhausted to make way for the next.
As an introduction to this post I will tell you a curious anecdote: so far this year MI KITSCH KITCHEN has managed to attend three International Art Fairs getting two different passports. The passport of The absence of Path that the Pavilion of Tunisia in the Biennial of Venice had given “La Jefa” and the passport Antartic World by Lucy + Jorge Orta that I got in the Frieze last week. Two similar concepts and scenes, keeping the distances, of course.
Bloody Hell, mate! Seen one the other one, is not funny, don´t you think?
However, I will agree it´s worth going to Frieze London, at least once year. My goodness! You will not believe it, but it’s the first time, in my long professional career, that a project blushes me away from home. Even London Frieze has got what seemed impossible a week ago, I forgot Festival Patschwork Sitges.
–What project is the editor speaking about?–FOC-TEA asked taking out a white handkerchief of his Tom Ford’s black pants pocket.
–I do not know, mate, I just got up- replies yawning the tortured writer while he pulls up the sleeves of his Simpson lilacyellow pyjamas with his thumbs.
–I’m writing about the new SEX WORK section of London Frieze curated by Alison Gingeras–replies the editor, picking up the red folder of pending affairs while he puts on his Prada swing black glasses.
A super feminist and seventies section that explores sex, sexuality, gender, identity, penises, vaginas and politics from the feminine point of view. Sex Work wants to show us the conversations about what feminist art is becoming. Nine galleries have shown nine artists who were considered too controversial in their day, for the art world and for the feminist movement, and were expelled from the museum narrative.
Artists such as seventy-two-year-old Betty Tompkins, known for her close-up photographic series, or sixty-nine-year old Marilyn Minter, still continues to encourage women to regain their own sexual imagery.
“I think my paintings have less to do with so-called porn and more to do with freedom.” Marylin Minter dixit.
PS: Dear reader, being a follower of MI KITSCH KITCHEN brings two immediate and non-transferrable consequences: First, if you have arrived here without being bribed, you are a super cool and mentally elderly person, and second, you seem to be an observer, a super trendy person who knows how to design his or her own opinions in his or her brain without the need for other people to dictate them to you.
For these reasons, and not others, we have considered it will be better, if you judge the SEX WORK section for yourself; to avoid being tempted to create for you a load of rare rolls and prejudices.
Mate! What do you think? Art or Pornography? Were feminism movement and museums right taking these artists away from the artistic mainstream of their time?