Unnecessary sermon at Göteborgs konsthall
Fotoverket Peripheral Vision depicts the artist Mounir Fatmi with an instrument over the face. The blinds and pointing out something behind him. Something he can't see.
the duration of the exhibition 180° Behind Me is characterized by visual metaphors, or what Fatmi call ”aesthetic traps”. Often they are attractively packaged and connected to instruments of various kinds, sometimes mechanical, sometimes linguistic, often with references to the arab world.
In the Alif portrayed the Arabic letter with the same name. A letter whose most well-known variant never are written together with the other, but always stands up for herself, at the same time as it makes sense along with the others. Its mythological status as the language and the ruler of the world is illustrated by a both violent and sophisticated calligraphy. Much in this exhibition stops at this play with language. But not only in the literal sense as in Alif.
In väggverket Black Screen it becomes flat cases. This has Fatmi put together an entire wall with black VHS cassettes. A more banal illustration of how the materiality of technology comes forward when the longer not longer in time is difficult to imagine. In line with Hannah Arendt and Martin Heidegger says Mounir Fatmi in an interview that there are no dangerous thoughts, but there is thinking as such which is dangerous, as if the technology is used primarily to get us to not think.
Unfortunately, it appears this setting have led Fatmi to the conclusion that it is his duty to visually lesson, rather than complicating this dogma of the beholder. But it is clear that it is also possible to read all of it just as an ironic appeal to the contemporary art to which he belongs is a part of a teknikarsenal that's interests of today use in their struggle against the thinking. Unfortunately, there is no more memorable for it.
Something less one-way and programmatically, it is possible that in the installation Everything Behind Me. The work consists of a myriad of sammanvirade cables around a wooden table. Even if we put it on the table and dissects this mysterious snake animal, so we will not to how these distribution channels affect the thinking.
Much of this exhibition can either be read as a flat illustration or as an ironic comment to a teknologikritisk dogma. Both läsningarna perhaps makes the exhibition a collection of aesthetic traps, but that art considered is the least dilapidated.
The most provocative with this is not to soon to fall in ruins, but gives the impression of not knowing, though it obviously has found the truth in a hopeless philosophy of language.