Set as Homepage - Add to Favorites

日韩欧美成人一区二区三区免费-日韩欧美成人免费中文字幕-日韩欧美成人免费观看-日韩欧美成人免-日韩欧美不卡一区-日韩欧美爱情中文字幕在线

【cep porno yukle】Art Killed Me
Rachel Wetzler ,cep porno yukle February 7, 2019

Art Killed Me

Velvet Buzzsaw’s superfluous gallery of grotesques Velvet Buzzsaw"It’s an iteration. No originality. No courage.” | Netflix
Word Factory W
o
r
d

F
a
c
t
o
r
y

Satires of the art world written by incredulous outsiders are often damned before they begin: there’s virtually no absurdist caricature a screenwriter could invent that could suitably exaggerate its pretentiousness or barely concealed venality—these character flaws are played out daily in earnest. In 2015, a mentally ill attendee at Art Basel Miami Beach stabbed another visitor with an X-Acto knife; it took onlookers a few minutes to realize that the blood was real. At the ARCO Madrid art fair in 2007, members of the more-or-less uncategorizable art organization e-flux—under the heading unitednationsplaza—gathered an international gang of artists, curators, and critics to participate in a self-flagellating mock trial whose charges included colluding with the “new” bourgeoisie. The artist Santiago Sierra has, on several occasions, paid drug addicts and sex workers to tattoo black lines across their backs; Damien Hirst sold a skull encrusted with fourteen million British pounds’ worth of diamonds for fifty million pounds to a consortium of buyers that included himself; Tracey Emin transplanted her unmade bed into the Tate Modern. Art-world satire, in other words, tends to feel ham-fisted because it’s all such low-hanging fruit: it doesn’t take much effort to make contemporary art sound dumb—it’s already dumb, and no inflection is needed.

The newest entry into the canon of bad art-world satires is director Dan Gilroy’s Velvet Buzzsaw, which premiered on Netflix last weekend. All the familiar grotesques are here: greedy gallerists, ruthlessly ambitious assistants, tax-dodging collectors, a critic so accustomed to churning out self-serving aesthetic pronouncements that he can’t help but bitchily opine about a dead colleague’s casket. There are also architectural black outfits, Tom Ford eyeglasses, and capital-h Haircuts marching through sterile white galleries and pristine midcentury houses; people airkiss, backstab, and mistake a pile of trash on the floor for a revolutionary new artwork.

It doesn’t take much effort to make contemporary art sound dumb—it’s already dumb.

But Gilroy adds a genre twist: in Velvet Buzzsaw, the art bites back, taking supernatural revenge on those who would debase it for profit. To introduce the protagonists in all their preening, money-grubbing glory, the film must naturally open at Art Basel. The critic Morf Vandewalt (Jake Gyllenhaal) marches through the aisles casting judgment: a ridiculous animatronic sculpture of a homeless person, HoboMan, on sale for $4 million, barely warrants full sentences from Vandewalt (“Wolfson, female figure, four years ago . . . It’s an iteration. No originality. No courage”); “Sober hasn’t been good for him,” he says of a work by John Malkovich’s washed-up painter Piers. He forms a cozy trio with gallerist Rhodora Haze (Rene Russo), whose past life as the frontwoman of the 1980s punk band “Velvet Buzzsaw” lends her highbrow enterprise the frisson of subversiveness. Meanwhile, Toni Collette’s smarmy Gretchen, a curator at the fictional LA Museum of Art, is about to jump ship for a more lucrative career as an art advisor. “The wealthy vacuum up everything,” she tells a giddy Vandewalt, “Why not join the party?”

When the gang returns to Los Angeles, Josephina (Zawe Ashton), an assistant at Haze’s gallery, discovers the corpse of her elderly neighbor, a recluse named Vetril Dease who conveniently died without any friends or family to claim his possessions. She sneaks into his apartment—ostensibly motivated by concern for the dead man’s orphaned cat—and finds a trove of so-so paintings that we are meant to believe are heretofore unknown masterpieces. She quietly gathers them up and prepares to strike out on her own, a plan that falls apart when her boss, tipped off by an art handler hoping to curry favor, demands to be cut in. “You’re in way over your head,” Haze tells her. “You have to archive, catalogue, and establish ownership. And monetize. I’m willing to do all of that for a reasonable percentage. You can engage me in an endless lawsuit or become rich.” Of course she chooses the latter.

Indeed, allof the main characters immediately see dollar signs and set about colluding, with various degrees of explicitness, to promote Dease as a newly unearthed visionary: a team of lawyers is brought in to invent legal provenance for the paintings, Josephina is promoted to gallery partner, Vandewalt offers to write a glowing catalogue essay for the gallery’s forthcoming Dease exhibition in exchange for the rights to a book about his life (“an exploration of origin and essence”). Gretchen gets first pick of the paintings for her rich client and strong-arms her former museum into bumping a planned exhibition of emerging artists from the calendar in favor of showing her newly purchased Deases, which will instantly inflate their value. Later, she demands that another recent acquisition—Sphere, a massive interactive sculpture in the form of a metal orb kitted with arm holes and sensors—is thrown in for good measure; her collector wants to defray the sculpture’s presumably exorbitant cost with a tax break by lending it to a non-profit ASAP.

Almost nothing is known of Dease’s history, but it hardly matters; that is, until the paintings start killing people. It turns out that Dease, traumatized by an abusive childhood, was a murderer and had been experimented upon by doctors at a hospital for the criminally insane. His last request was that all his art be destroyed. Somehow—this part is never quite explained—his tortured, violent spirit has literally animated his art, which inflicts punishment on every greedy schemer that crosses it: the art handler is mauled by monkeys from a kitsch gas station canvas while taking a truckload of Dease paintings to storage; a rival dealer is strangled by his foppish scarf as he inspects an installation; Sphere saws off Gretchen’s arm and she bleeds out on the floor of the museum; Josephina is consumed by a graffitied mural after she attempts to convince a young street artist, Damrish, to sell out his East LA collective. Confronting all this carnage, Vandewalt and Haze decide to divest but it’s too late: they, too, meet ludicrously gruesome fates.

As a comment on the art world, Velvet Buzzsaw is too obvious to be interesting—it tries too hard; as a horror film, it’s not quite obvious enough, introducing genre tropes only to keep them at arm’s length. But for a movie so conspicuously unschooled in the insider nuances of the art world (any number of other reviews have tallied its gaffes, the most egregious of which is the assumption that art critics have any power whatsoever), Velvet Buzzsawmanages—I suspect inadvertently—to get at the heart of longstanding debates about art’s nature. Does art manifest the will of its creator or does it have an autonomous existence unbound to the artist’s intention? Does an artwork have a consciousness and a drive of its own, as proponents of the “new materialism” would have it? Are artworks commodities, uncannily animated by the embedded social relations of their production, or something more pure and elemental, unnaturally enslaved by the market? Does every painting save the world in its own way, as titillation-critic Jerry Saltz recently claimed on Twitter? No matter the answers, the only logical conclusion is the same in each case: if artworks are as alive as everyone says, it’s no surprise that they want us dead.

0.1205s , 10040.0703125 kb

Copyright © 2025 Powered by 【cep porno yukle】Art Killed Me,Public Opinion Flash  

Sitemap

Top 主站蜘蛛池模板: 欧美日韩国产精品视频一区二区 | 2024国产福利在线观看 | 高清流畅免费无码毛片av | 久久精品一区二区三区不卡 | 九九色在线视频 | 国产特黄特色的大片观看免费视频 | 国内精品wwwwwww视频高清免费 | 日本19岁护士伦理在线 | 亚洲午夜精品一区二区三区 | 亚州欧美中文字幕精品综合 | 欧美国产日韩亚洲中文 | 久久久亚洲综合久久 | 久久久久久亚洲精品专区 | 欧美日韩高清一区二区三区视频 | 精品国产青草久久久久福利 | 国产福利一区二区三 | 国产精品三级三级免费 | 人妻精品国产一区二区 | 久久精品女人天堂AV一个 | 精品久久久久久亚洲综合网 | 国产v精品一区二区 | 巨胸喷奶水www视频网站 | 中文字幕精品区先锋资源 | 欧美日韩国产va在线观看免费 | 欧美人妻一区二区三区精品 | 97国产在线一区二区精品 | 无码免费一区二区三区在线 | 怡红院aⅴ国产一区二区 | a级自慰免费网站 | 人人人澡人人人妻人人人爽 | 麻豆国产一区二区三区四区 | 激情婷婷六月 | 亚洲欧美一区二区三区蜜芽 | jizz韩国天天爱久久久伦 | 精品福利一区二区三区免费视 | 91福利国产在线观看香蕉 | 久久久久亚洲国产一区二区三区 | 日日噜噜夜夜狠狠视频无 | 色色噜一噜 | 国产aaaaa一级毛片 | 91精品国产乱码久久久久 |