Text provided as handout at Finissage
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Sunday, 27 September 2026
BlackLodge (draft/unfinished)
Norther Feeders of coquet
where the grass grows glass houses
five sepals downy to the South
the bastard asphodel
& Poetry Ecology Groups
in the trees, floors, walls
chewing three-lobed crowfoots
spat out on small infill sites of Business Parks
are vanished Rotes Wien melling blood
skeletons career bittered cathartic
& balkanised Alex Niven's
on the High Speed train back home
sacrators of Basilidian devolutions
frothing the shallower parts in hallowed maisonette's
on Purchese Street Argent wide my palest tear
drops outside the Kissing Building
as the 1% turn-in as actual architectural design
a Heatherwick Stairway couponed to UK Heaven,
the heritage versions, the histories embedded in bas-relief
metallic faces landscraped our little gaps of sedge
dream archipelagos buried inside District Councils
through the dales, The Productive State
beyond this rosacea skin acreage
its languid song falls hardest in
The Real-time Air Quality Index
Visual Maps to hide gloms
of golden saxifrage
beneath an escarpment the sinking seam
before it was reached,
the need to be a tribune.
Gallerists 2026 (Albert Riera Galceran) (Ian Soler Bradley) (Román Fabre), 2026
Left to Right:
(Albert Riera Galceran) (Ian Soler Bradley) (Román Fabre)
43 x 9.2 cm Vichy Catalan Bottle 1 Litre,
Urine, Glass shelf, fixings
Q. To begin with, could you describe this work?
A. Yes, of course. What I've done is change a bottle of urine into a full-grown gallerist without altering the accidents of the bottle of urine.
Q. The accidents?
A. Yes. The colour, feel, weight, size ...
Q. Do you mean that the bottle of urine is a symbol of a gallerist?
A. No. It's not a symbol. I've changed the physical substance of the bottle of urine into that of a gallerist.
Q. It looks like a bottle of urine.
A. Of course it does. I didn't change its appearance. But it's not a bottle of urine, it's a gallerist.
Q. Can you prove what you've claimed to have done?
A. Well, yes and no. I claim to have maintained the physical form of the bottle of urine and, as you can see, I have. However, as one normally looks for evidence of physical change in terms of altered form, no such proof exists.
Q. Haven't you simply called this bottle of urine a gallerist?
A. Absolutely not. It is not a bottle of urine anymore. I have changed its actual substance. It would no longer be accurate to call it a bottle of urine. One could call it anything one wished but that would not alter the fact that it is a gallerist.
Q. Isn't this just a case of the emperor's new clothes?
A. No. With the emperor's new clothes people claimed to see something that wasn't there because they felt they should. I would be very surprised if anyone told me they saw a gallerist.
Q. Was it difficult to effect the change?
A. No effort at all. But it took me years of work before I realised I could do it.
Q. When precisely did the bottle of urine become a gallerist?
A. When I put the urine in the bottle.
Q. Does this happen every time you fill a bottle with urine?
A. No, of course not. Only when I intend to change it into a gallerist.
Q. Then intention causes the change?
A. I would say it precipitates the change.
Q. You don't know how you do it?
A. It contradicts what I feel I know about cause and effect.
Q. It seems to me that you are claiming to have worked a miracle. Isn't that the case?
A. I'm flattered that you think so.
Q. But aren't you the only person who can do something like this?
A. How could I know?
Q. Could you teach others to do it?
A. No, it's not something one can teach.
Q. Do you consider that changing the bottle of urine into a gallerist constitutes an art work?
A. Yes.
Q. What precisely is the art work? The bottle of urine?
A. There is no bottle of urine anymore.
Q. The process of change?
A. There is no process involved in the change.
Q. The gallerist?
A. Yes. The gallerist.
Q. But the gallerist only exists in the mind.
A. No. The actual gallerist is physically present but in the form of the bottle of urine. As the bottle of urine was a particular bottle of urine, the gallerist is also a particular gallerist. To conceive the category 'gallerist' or to picture a particular gallerist is not to understand and experience what appears to be a bottle of urine as a gallerist. Just as it is imperceivable it also inconceivable.
Q. Did the particular gallerist exist somewhere else before it took the form of a bottle of urine?
A. No. This particular gallerist did not exist previously. I should also point out that it does not and will not ever have any other form than that of a bottle of urine.
Q. How long will it continue to be a gallerist?
A. Until I change it.
Petra at Aeropuerto de La Gomera, 2026
29.7 × 42 cm
Wooden Artist Frame,
Navigator Presentation A3 Printer Paper 100 gsm Smooth White
Petra in the Sun (Banana Boat, Cloudbuster, Perineum, Asta & Salt Del Enamorado), 2026
Top Left:
Petra & the Asta for salto del Enamorado, 2026
29.7 × 42 cm Wooden Artist Frame,
Navigator Presentation A3 Printer Paper 100 gsm Smooth White
Bottom Left:
Petra traveling to El Gomera on a Banana Boat, 2026
29.7 × 42 cm Wooden Artist Frame,
Navigator Presentation A3 Printer Paper 100 gsm Smooth White
Top Right:
Petra using the Akasha Pillar like a Machine-Gun (Cloudbuster/orgone cannon), 2026
29.7 × 42 cm Wooden Artist Frame,
Navigator Presentation A3 Printer Paper 100 gsm Smooth White
Bottom Right:
Petra Perineum sunning, 2026 29.7 × 42 cm
Wooden Artist Frame,
Navigator Presentation A3 Printer Paper 100 gsm Smooth White
Friday, 18 September 2026
Gallerists 2026, 2026
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From Left to Right:
(Albert Riera Galceran) (Ian Soler Bradley) (Román Fabre)
43 x 9.2 cm Vichy Catalan Bottle 1 Litre,
Urine, Glass shelf, fixings
Slaves in Paradise, Barsa (10 September-22 October)
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C/ de Gonçal Pons, 25 08902 L' Hospitalet de Llobregat Spain barsa@barsa08902.com @barsa08902
* Open by appointment only *
Tuesday, 15 September 2026
Els seus ulls encara brillen des de darrere La tetera trencada (CAT)
Les dimensions visibles i invisibles d'una obra d'art rarament es producien o conclouen de manera sincrònica. Quan una introducix l'altra, aquesta altra extreu de la primera ressonancies més profundes, ironies més fosques i delimitacions més nítides de les seves representacions encara estatiques.
En aquestes obres, una noia de fusta representa una sèrie d'activitats de vacances. Està gairebé sempre sola i gairebé sempre és representada com a plenament autosuficient i segura en la seva solitud. Tant si està volant per damunt de l'illa com si simplement espera a l'acroport, els límits semblen resolts amb una sensació de seguretat, però ens trobem no-saltres mateixos implicats en el fet d'observar-la a través d'una membrana d'economia? Som testimonis d'un viage de transformació a la manera de Pinotxo o d'una ingestió tenològica dins l'intercanvi performatiu de classe i capitalista; un jo veritable o una veritat pronunciada?
Tot i que les conferències de Foucault de 1982 tracten sobretot de la filosofia i de les condicions i els contextos en que els pensadors grees i romans consideraven possible assolir la filosofia, la seva analisi, en abordar el jo en la recerca de si mateix, ofereix nombroses intuicions ressonants i adjacents sobre comes podria interpretar artísticament la represen-tació d'una jove de fusta fent windsurf.
Hi ha un bufet d'assoliments produits a Slaves in Paradise, de Cole Denyer, i en cadascun d'ells una esfera secundaria de reconeixements i trets protèties dona testimoni d'un mare sociocconomic integrat. Tot i que sovint es retorna als pro-cediments de tutela invocats per la filosofia i al seu voltant, hi veiem un món d' interioritat inaccessible.
El format transaccional a curt termini dels lloguers de vacances funciona gairebé integrament dins d'un sistema de vigilancia invisible però omnipresent i de creació de continguts; el model vacacional de captura de representacions i acumulació representacional planteja una mena de format de prova de foc en què fer una cosa és immediatament adjacent a demostrar-la. Adornades amb els salaris d'un altre lloc, les trobades introductories i programades amb l'obser-vacio de balenes, el bany amb dofins o qualsevol altra activitat d'aquest tipus sempre van acompanyades d'un equip de treballadors documentals a bord que produeixen una membrana secundaria d'evidència disponible per comprar un cop finalitzada l'activitat.
Aquesta estratificació invisible del treball de serveis dicta el mare dels esdeveniments per produir una evidència talismà-nica de la individuació. L'experiencia loga una identitat, que circularment confirma una actitud i l'accés a la despesa; hins i tot en la cultura del consum, all que Foucault afirma sobre la cultura continua sent cert: aquesta ha de reclamar universalitat i, alhora, ser accessible només a uns pocs acceptats.
Es a través del prosceni d'aquesta agulla que vull concloure el meu argument. Ha presentat Denyer la Petra d' Eric Gill perque finalment assoleixi el descans i l'autonomia que se li van negar al seu model huma? Ha arribat a La Gomera només per descobrir que la seva oportunitat d'esdevenir veritablement humana dins de l'Organització Aktionanalytische ja havia implosionat abans de la seva arribada?
Què és l’art i quines arts servim? Per a quins magistrats de la intermediació d’inversions treballem, o de quins ens desviem? En quines condicions la construcció interioritzada del món amb què Denyer ha sostingut aquestes imatges desafia, d’una manera significativa o contundent, la banalitat de la cultura de consum? O és aquesta cultura transaccional de l’accés, sancionada pel capital, el punt on ens trobem tots? No tenim temps per a atraccions o interaccions reals, ni per obrir-nos pas, a la manera de Point Break, fins a les entranyes de l’oceà.
Her Eyes Shine Still From Behind The Broken Teapot (ENG)
The visible and invisible dimensions of an artwork rarely occur or conclude synchronically. As one introduces the other, the other draws from first into deeper resonances, darker ironies and sharper delineations of its still static depictions.
In these works a wooden girl enacts a series of vacation activities. She is nearly always alone and nearly always depicted quite self sufficient and confident in her solitude. Whether this is flying over the island or just waiting in the airport, the boundaries appear resolved with a sense of assurance, but do we find ourselves to be complicit in witnessing her across a membrane of economy? Are we witnesses to a Pinocchio-like journey of becoming or a technological ingestion into performative class & capitalist exchange; true self or a truth spoken?
While Foucault’s lectures from 1982 mostly address philosophy and the conditions and contexts wherein Greek and Roman thinkers believed the attainment of philosophy possible, his analysis, in its address of the self in pursuit of its self bare many resonantly adjacent insights to how the depiction of a wooden young woman windsurfing might be fathomed artistically.
There is a buffet of achievements produced in Cole Denyer’s Slaves in Paradise and in each one a secondary sphere of recognitions and prosthetic features testify to an embedded socio-economic frame. While frequently circling back to the procedures of tutelage invoked by & about philosophy, we see her a world of inaccessible interiority. The short-term transactional formatting of vacation commodity rentals function almost entirely within a system of unseen but omnipresent surveillance & content creation; vacation model of depictive capture & representational accumulation posits something of a trial by fire format where doing is immediately adjacent to proving. Garnished with the wages of elsewhere, incubated introductory encounters to whale watching, swimming with dolphins or any other such activity are always accompanied by an onboard staff of documentary workers producing a secondary membrane of evidence available for purchase upon completion.
This invisible strata of service labour dictates the frame of the events to produce talismanic evidence of individuation. The experience leases identity, which circularly confirms attitude & access to expenditure; even in consumer culture, what Foucault states about culture remains true, it must both claim universality & be accessible only to an accepted few. It is through the proscenium of this needle that I want to conclude my point. Has Denyer presented Eric Gill’s Petra to finally achieve the respite & autonomy denied her human model? Has she arrived at La Gomera only to find that her chance at becoming truly human in the Aktionanalytische Organization already imploded before her arrival?
What is Art & what Arts do we service? For which investment brokerage magistrates do we serve or swerve? Under what conditions does the interiorised world building which Denyer has subtended these images meaningfully or forcefully challenge the banality of consumer culture? Or is this capital sanctioned transactional culture of access where we are all at? We don’t have time for real attractions or interactions or to Point Break our way into the underbelly of the ocean.
Is the will to fashioning incubator spaces really still a gateway to communities of dis-regulated intimacy; or is it enough to enter replication, fill the frame & receive affirmation for the expenses taken. Is this our care of self? Petra can do all things but nowhere does she permeate beneath the water’s surface. Perhaps, this is the limit of my conclusion or simply the length of time I had to hold my breath & write this.
By Willie Brisco
Tuesday, 8 September 2026
Thursday, 3 September 2026
CITY POINT LIGHTS BLACK MINUTES, 2026
Potential Book Cover Scan
Drawing by Charlie Hammond
Screen-printed Words by Myself
Tuesday, 1 September 2026
Black Lodge (draft/unfinished)
Northern feeders of the coquet
where the grass grows glass houses
five sepals downy to the South
the bastard asphodel
& Poetry Ecology Groups in the trees
chewing three-lobed crowfoots
spat out on small infill sites of business parks
vanished Rotes Wien mells the blood
skeletons career bittered cathartics
& balkanised Alex Niven's
on the High Speed train back home
sacrators of Basilidian devolutions
frothing the shallower parts in hallowed maisonette's
on Purchese Street Argent wide my palest tear
drops outside the Kissing Building
as the 1% turn-in as actual architectural design
a Heatherwick Stairway couponed to UK Heaven,
the heritage versions, the histories embedded in bas-relief
metallic faces landscraped our little gaps of sedge
dream archipelagos buried inside District Councils
through the dales, The Productive State
beyond this rosacea skin acreage
its languid song falls hardest in
The Real-time Air Quality Index
Visual Maps to hide gloms
of golden saxifrage
beneath an escarpment the sinking seam
before it was reached,
I need to be a tribune.