In my dreams, I imagine Merlin Carpenter dressed in a Celine bathrobe atop a slow moving Voro motorised scooter. The types you seen men with crash helmets with bunny ears attached speeding upward of 60 miles near E & C in shorts. Merlin is not this type but a torn copy. uk2uk playing out the JBL. A luxury Celine bathrobe coat (such as a double-face cashmere or wool-blend outerwear style) typically costs between £4,200 and £5,000, so wearing outside Tunnel Avenue in Deep South London, is something akin to going really fast with bunny ears near E & C. We all die, eventually. Anyway, I saw him once without the Celine at Historical Materialism and wondered. I thought it all died with Terry Atkinson. But it appears alive and well, well. But then the following year it was the police show at dependence. So no change. Anyway, so the conference was 2012, I recall Sutherland & Bonney in mutiny over militant poetics, early visions of the impervious intelligence of Marina Vishmidt & a fondly the general agitation of a recently incantation of rage that filled the rooms.
Art institutions were able to be stripped, loaded into the iganmity of international student fees & that was that. It was said as much after Variant had collapse in Scotland which trundled down to London for a last blow out. Sometimes I do press the penis pills on Mute magazine just to see. Real Junk Subjectivity. So, Merlin sits down and write a Marxist text. Who's in his corner, the shadowy glimmer of Kelsey (others) & some South American mathematicians. Time for Trance. Why write it, Sternberg called? Light blue cover, bring down the Institut für Kunstkritik, settle a few scores...kick a few heads.
I guess the sort of negative, anti-programmatic Marxism with a crypto-Kantian ethics of mediated freedom needs to find a home & the aggressive gestures of early-’80s neo-expressionism racialised/abjectified caused a problem for Simon. Hence why The OPENING offers some prevarication on the terms of a celebrated, provocative series. Penis pills never came. Pure junk subjectivity. Aggressive slogans, insults, or inside-jokes directly onto the blank walls and canvases. But before, much before that Northerner did it. Calling your own gallerist TOTAL SWINE is niche, but ultimately reperforms the notion of bite the hand that feeds or contains its own recuperation in advance.
TOTAL BEUYS is good, or was it BAD BEUYS. DIE COLLECTOR SCUM. Also good. It's eventuation preordains the humor but it occupies both sides. In that, the collector that owns it owns their own insult, occupies it almost as a silken cravat speckled with the shit of another persons bag-dog. But I am not here to write about the paintings that seem to operate as the theoretical subplot to the essay, which you can read for yourself and come to your own finisher. If you can get through the trance-stuff. I was pushed into TOTAL KANT, but then I thought maybe TOTAL KANTIANISM is really useful. As in, maybe that occupies some of the ideas. TOTAL KANT.
I was thinking that “total Kantianism” could describe a position in which freedom becomes almost entirely noumenal, formal, and self-legislating. I think this is what Merlin wants. I might be wrong. As in, for Merlin capital becomes the transcendental condition of possible social appearance, while “trance” occupies the position of an unknowable noumenal outside. Freedom through non-coincidence. Freedom exists only when an action does not coincide completely with its stated meaning, assigned function, institutional location or capitalist use.
Sometimes I press the penis pills on Mute magazine just to see.
But the essay also does contains a genuine Marxian correction in a few ways. Kelsey in the corner. Its strongest point is that not every exploited, creative or socially useful activity produces surplus value. Hence the point of the Opening, I guess. Its larger speculative architecture, however, turns that correction into an almost metaphysical division between value and an impossible outside. This is where several of its contradictions originate.
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MC collapses these heterogeneous situations into the ontology of “art.” The Opening does not simply exploit an audience’s “energy.” It theatrically confuses production, circulation and consumption; exhibition opening, normally a moment of display and social circulation, is presented as the place where the painting is produced. The essay even says that trance “does not exist,” yet assigns it enormous structural importance.
That is very close to a noumenal object: inaccessible in itself but necessary for delimiting the phenomenal field. The only remaining freedom is indirect: coded transit, displacement, strategic falsity and the formation or destruction of groups. Carpenter has replaced Kant’s transcendental subject with capital and relocated freedom into a radically negative, unpresentable outside.
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Proposing itself as a hyperliberal residue, this is where his 'revolutionary subject' (he has one) begins to resemble a sovereign operator who enters, manipulates and leaves arrangements while refusing capture by them. Leaving them is the most important aspect in this list. It must be left. “Make Your Own Life“, 2006 by Merlin Carpenter. The artist asked the ICA Philadelphia, the original venue for this exhibition, to provide him with $4,000 cash. The artist then went on a shopping spree consuming luxurious goods and services, with only the receipts and empty shopping bags exhibited. Carpenter's revolutionary subject starts strangely resembling the liberal sovereign individual that Marxism is supposed to have overcome. The subject can enter arrangements, manipulate them, exploit their possibilities and leave before they solidify into determination.
Institutions, traditions, durable solidarities and historical obligations become dangers because they might crystallise into control. He converts value into an all-determining metaphysical plane. Everything outside it becomes either unreal or a tool of control. Art is then stripped of its contradictory material specificity: different forms of artistic employment, ownership, production, circulation and reception are flattened into a single cultural-management function. The noumenal outside has to remain inaccessible because the instant “trance” acquires positive content—this community, this politics, this institution, this revolutionary programme—it becomes another determination and therefore another potential mechanism of capture.
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Capital is no longer a contradictory social relation reproduced through particular institutions and struggles but instead it becomes a transcendental apparatus preceding every possible action. Once that happens, political freedom can survive only as an encrypted gesture from an impossible outside. The final irony is severe though, as Merlin begins by criticising art-world theory for wrongly turning every form of social life into productive labour. He ends by turning every form of cultural appearance into control. One totalisation has merely replaced another.
I guess now, after all those years I realised why he was swooping through the halls at HM. Knock Knock. I think it's the penis pills.








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