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facilities Jennifer Dalton.

Following is the text, English to English, my work will appear shortly in the journal Art Press in the number of the fall of 2010.

self-critical facilities from Jennifer Dalton.
You can make a story of the facilities because it is an art form and provided with a legitimate tradition and continuity over time. The historian Michael Archer has been charged with the task and has traced the beginnings of the facility to at least the late nineteenth century. The term spread, notes critic Sven Lütticken Dutch art in the mid-seventies, that is, make thirty-five years and came to replace the concept of environment, which was the one used previously.

If at the time the facilities were practical alternative art in the contemporary world, and not infrequently, could be viewed as academic exercises that can cover all sorts of trivia. If the facilities are still perceived as new is due, at least in part, to the art institutions have established themselves as such. Accepting that a facility is a form of artistic expression essentially unconventional, is to assume a viewpoint in itself quite conventional and institutionalized. Is in many ways repeating the persuasive approach / tax with which the market attempts to sell art.

Could talk about a crisis of the facilities while still occupy a privileged space between the current artistic trends, even if they have lost much of its novelty? How could it be a criticism of the art market that leverages the inherent complexities and leakage current art to sell, sometimes at high prices, objects or rubbish outside the premises, one could certainly find any dump?

The young New York artist Jennifer Dalton has been proposed at least call attention to such questions. Facilities from the exhibit Making Sense, currently displayed in the Flag Foundation , Chelsea are the works self-reflexive and full of humor rowed against the institutions of contemporary art. In one piece, entitled How the artist looks like? , Dalton decided several rows of photographs of writers, visual artists, actors and dancers, among other celebrities like Paris Hilton (all photos were taken from the magazine The New Yorker ) . Apparently the images are organized following a transition from "genius" to "pinups" (which was the name that was given to the girls who appeared on calendars). But it is sometimes difficult to differentiate the "genius" of the "pinup", in a similar way as in the field of contemporary culture, as depicted in the mass media.

In What Are We Not Shutting Up About? (Why do not we shut your mouth?) Dalton includes statistics on how many people chatted with the known art critic Jerry Saltz through facebook . The graphics are handmade so bungled, and the data shown are entirely trivial. What could be the relevance of all this information? How many rumors, that may well be reserved for private space, poison the contemporary art scene? What might be, if indeed it exists, the margins between the intellectual work and entertainment? In the center of the room the viewer had the opportunity to make a bracelet with the inscription "it's not you, it's me" (not you, me). A sentence from which the art object itself seems to make self-criticism and hold the visitor of any possible guilt that may cause difficulty in recognizing certain values \u200b\u200bin contemporary art.

Jennifer Dalton uses its facilities to challenge the contemporary artistic production, market and art institutions. The gesture is somewhat twisted. Dalton makes a critique of main stream, producing facilities to be promoted as artistic images and personal stamp whose value consists precisely in making the market criticism, visual creations and art institutions. However, this approach self-referential humor and the artist proves that there is still room for the complexities and critical, even when there may be no way to avoid sinking into these vicious cycles in which contemporary art seems being bogged down.