When Arcadia Missa co-founder and THE ANGRY SHOW curator Rózsa Farkas accidentally emailed me her “secret planning pdf”, I was confused by the artwork descriptions like “perhaps the goetse vid and the text she wrote on the modern phallic subject in htsf, in vinyl on the wall” for Jesse Darling’s ‘Mouf’ (2013) video. Assuming there was a reason for presenting the exhibition information sheet in such an unfinished manner (where a ‘?’ stood in place of an actual closing date), I asked Farkas if I could use the piece below, being drawn to how it called attention to the connotations of a given font: the delicate and graceful Chancery for “feelings”, clumsy and awkward Comic Sans for “the lonely sad girl” and dark Gil San Ultra Bold for “Other”. It turned out to be a very old draft curatorial plan.
Nonetheless, Farkas said I could use it but asked that I clarify how the writing came about, “cos like – they aint proper sentences ahahaa <3 <3”. In the context of THE ANGRY SHOW, though –where the didactics are scrawled in black felt tip over white walls and Jake Kent quotes UK punks Crass in ‘Do they owe us a living? ‘Course they fuckin’ do‘ (2013) –it’s sort of fitting.
Because between Aimee Heinemann’s gleefully low-brow reference to Chris Crocker’s emotional plea in ‘Alter (Cathedral of Our Lady of the Angels)’ (2013), with “LEAVE BRITNEY ALONE” spray painted on a survival blanket, and Rachel Lord’s tribute to the pink ‘girl’ Angry Bird in ‘Stella with flowers’ (2013), THE ANGRY SHOW already willingly rejects the “refinement, delicacy, or sensitivity” that Kent’s ‘crass’ is defined as being lacking in.
This is an exhibition that refuses the political structures that not only dictate one’s social worth via externally defined acceptable behaviours but determine its very aesthetic. To Melika Ngombe Kolongo & Daniella Russo’s ‘Unintended Circumstances‘ (2013) video, Farkas says, one viewer at the Sydney exhibition commented that the work, drenched in radiance and depicting the curb Florida teen Trayvon Martin was gunned down on, doesn’t look very “angry” at all.
“If we think about crying selfies and lonely girls, we begin to see a hierarchy in the deployment of affect: the Other cannot embody anger as part of their affect/subjectivity”, she explains. THE ANGRY SHOW refuses that hierarchy and “welcomes rage”. **
Exhibition photos, top-right.
Header image: Aimee Heinemann, ‘Alter (Cathedral of Our Lady of the Angels)’ detail (2014). Image courtesy Rózsa Farkas.
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