MAIN SPACE EXHIBITION
APRIL 4 – APRIL 27, 1991
RECEPTION: FRIDAY, APRIL 4, 1991 AT 8 PM

LOCATION – STRIDE GALLERY
722, 11 AVE S.W, CALGARY, ALBERTA

 

EXHIBITION TEXT

Being somewhat reclusive and therefore reticent to speak about my work seems to beg the question: “But what does it mean?.” As has been suggested many times by persons as far back as Plato, to more recently J. Derrida, the viewer completes the work.

Although I may not completely agree with this premise, I do find it somewhat relevant and would not argue with one who might tell me what I am doing. However, I can say that the temporal nature of this piece by definition excludes it from a static reading and places it squarely into the arena of time-based phenomena. Time-based, not only in what is materially presented but also from a psychological and personally historic point of view.

Porky Pig becomes a metaphor for not only Norman Swatrtzkoph but also for my deceased father. Swartzkoph recently put his foot in his mouth when he admitted in an interview with David Frost that rather than offer the ceasefire, Bush should have pushed all the way to Baghdad. The next day he humbly revised this opinion. When I was a small boy, my father used to say, “Brian, you crazy tyke, put that ax down!”.

Needless to say, this kind of indecision on dad’s part implanted an insecurity in me that I cannot shake to this day. I prefer to remain in the wings.

–

Technology permits.
Permission is encouragement.
Permission is taken, not granted.

Spectacle denies access to its own mechanics.
Spectacle’s poker face has a twofold function – to deny access and to give us our money’s worth.
Suspicion that Spectacle cheats confirms automatically that our pockets are getting empty.
Content is penny ante. It is, therefore, the only thing worthy of our consideration.

Spectacle indulges Technology.
Technology encourages Spectacle.
If you’ve got it – use it.
If you don’t have it – get it.
If it doesn’t exist – make it.

-Brian Pool, April 1991