Saturday, October 17, 2009

Flexis divine: Proud Flesh

Sinuous, pink (my fave color), ALIVE, and hilarious, Adam Ramona's Proud Flesh installation at Burning Life 2009 is a triumph.

Kindly click the lower right hand corner to view this "Large"

Adam Ramona is the artist Adam Nash in Real Life, living in Melbourne, Australia. We've blogged about his work many times. His notecard at the installation reads:

This work is an attempt at a little evolving audiovisual environment. Each wind-responsive square tube fleshy flower will spawn a single seed when walked through by an avatar. The seed rises. If it collides with one of the geometric "clouds" randomly moving above, the cloud spawns a single shard. The shard releases a single raindrop. The raindrop falls. If it hits one of the square tube fleshy flowers, the square tube fleshy flower will spawn more seeds and so on. This symbiotic loop creates an ever-changing audiovisual environment. It's not really evolving, since evolution implies adaptation. In that sense, the failure of this work is perhaps a testament to the limited nature of the environment within which it exists, which itself is perhaps a testament to the failure of us all to comprehend evolution or its consequences.

What does it mean to be in the world? We are flesh, and we are proud. We name that which we do not understand. We are evolving, but judging by our current state, we have a very long way to go. As Alain Badiou puts it: "The contemporary world is thus doubly hostile to truth procedures. This hostility betrays itself through nominal occlusions: where the name of a truth procedure should obtain, another, which represses it, holds sway. The name 'culture' comes to obliterate that of 'art'. The word 'technology' obliterates the word 'science'. The word 'management' obliterates the word politics. The word 'sexuality' obliterates love. The 'culutre-technology-management-sexuality' system, which has the immense merit of being homogenous to the market, all of whose terms designate a category of commercial presentation, constitutes the modern nominal occlusion of the 'art-scinece-politics-love' system, which identifies truth procedures typologically."

Adam Nash (Adam Ramona), Melbourne, Australia, 2009.

Reference: Alain Badiou, St Paul: The Foundation of Universalism, Stanford University Press, 2003. P.12.

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