SNAX 03 : Sideways
Words by Will Ankrum
While much of Art could be considered representational, sideways Art inverts, vertiginously, turning inside-out while outside-in, protean matter. In this regard, sideways Art is an Art of slang (colloquial): unfixed, it is neither beautiful nor ugly— it is indiscernible, opposed to preconceived conceptual paradigms and aesthetic prejudice. The meaning of slang, like sideways, is determined only in its momentary, fugacious usage – that is, each time one speaks slang or makes sideways Art, their meanings persistently fall into the mists of unmeaning. Where one calls it up again, they return as singularity, every single time.
Art is about us, is about the earth and the cosmos. How then, following this presumption, is sideways Art about us, the earth and cosmos?
One becomes sideways when one is lit, when one is unhinged. One becomes sideways when one is struck by beauty, tragedy or love – all Art addresses these and more, but sideways attacks them, radicalizes the quotidian and further dismantles the unfamiliar. We fear in the drunkard’s gait, the lover’s lips and the cadaver’s rigor mortis what lay prepared in ourselves—our mad, sideways nature, which at any moment could tear out of us like a dark blot on the sun.
“Sideways Art unveils the veiled, the secrecy of our lives and the world. As a title and conceptual tool for this particular exhibit, sideways portends a complex richness of senses communicating fluid expressivity and depth.”
Vejiga de Pez, Horizontes, film
Film is a type of map and diagram for experience and the camera is a detached organ and free floating third eye. Horizontes, filmed by Vejiga de Pez, explores the latter in a long single-shot of a coastal line. The lens, horizontally fixed sideways mobility across a long straight but looped motion does not blink (glazes to and fro on one axis of the landscapes’ compass). Seamlessly, the tide never completes its own cycle of ebb and flow. Nonetheless, the camera is pulled by the moon and the ocean is pulled by the camera.
Patrick Moser, Little Curry Test, Film
There are hints of a materialism here; verily, sideways Art appears to be grounded in an environmental subtext. And Maik Alles Gute’s short film Sideways conveys the radical nature of this materialism— nature and that which is distinctly unnatural are dismissed as one and the same– natural and unnatural forms lose their illusory consistency, are transmogrified, while still retaining something of their initial presence, albeit, altering.
In Atelier la Mine’s film titled IT-Position, the Artist makes use of the camera as an alien’s detached eyeball. In this film, the lens glides sideways across a patina hued board whose grainy surface rises a topography of mountains. Grimy eggshell white tiles lay below, just out of focus. Slide curtains separate the lens from a tiled wall in the distance where there are no windows and no doors. A poorly carved log. It seems, desperately, to want to become something familiar, something still living.
A topography map, colored in cobalt blue. Each of the latter manufactured products, laid out in tiled rooms, like an Art exhibit, are like that cobalt blue map, expressing the topography of modern desires in manufactured environments, where some humans live out their entire lives in factory cities as modern machines for our desire of things.