There are two ways you can go about writing for a show.
1. Give them what they want. Conform to artworld blabber and blow up the bubble of hype surrounding artists and their work, with the hope that your writing flair is so unique that despite the fact you are not really saying what you think, people will bow at your feet at your intellectual prowess. Besides, everyone knows honesty never gets anyone very far.
2. Honesty. Even if it means that next time you try and go see a show, you know that you will repel the crowd with more efficiency than your average mace spray. Your opinions, which frankly, don't align with the exhibition catalogue do not want to be heard, even if you didn't feel the 'dialogue between the history of the sculpturally charged space' or engage with the 'fictionalised dialectic of the Lacanian perspective'. All these comments are completely invented, of course, but who can tell. Nothing makes any sense anymore.
Oh, and using bigger words doesn't make you more complex, it just makes you more annoying.
I would be lying if I said I never engaged in a smidgeon of number 1, because human nature compels us to follow. But here, I hope, there will be more scope and time for number 2's.
In the meantime, check my review and show out for yourselves:
Aesthetica Magazine Blog: Performative Landscapes: Shaun Gladwell: Stereo Se...: "Text by Emily Bour Arriving at Shaun Gladwell's Stereo Sequences exhibition, currently showing at the Australian Center for the Moving I..."
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