Vampire Value 'Des Emblems come Attitudes' 
Ecole des Beaux Arts, Tourcoing, France 
Art in Ruins 1988


Llandudno 2020 Covid-19

Somewhere in the world today a good-to-go figure stands in front of a flaming forest vainly snapping a selfie unaware of the discarded plastic bottles at their feet; to be posted on anti-social media which no-one will look at, wilfully ignorant of the part they play in the destruction of the environment which surrounds them and which they do not want to see.

Somewhere else an obese teenager wanders through a destroyed landscape drinking a caramel latte while looking at their mobile phone not seeing the dying bees around them, wilfully unaware of the poisoning of both the planet and of their own immune system; which they do not want to see.

The Modern World, built on the exploitation and destruction of nature (and human nature), has reached its tipping point, which (almost) no-one wants to see. All the warnings have been ignored or corrupted.

Some time ago we wrote an essay entitled How to Explain Western Civilisation to a Dead Hare: Technological Fascism versus Ecological Realism1 – ‘Mastery and Power over Nature’ is the driving force of unsustainable growth (that is, emancipation) 2

The global pandemic briefly put the overdeveloped world in Limbo and allowed the planet to breathe. While many of those around us hysterically cried for “a return to normal”; for freedom (from responsibility), for more freedom (to ignore concern for others), and even more freedom (for more endless consumption), some began to take precautions and attempted to restore an immune system (almost completely destroyed by a self-destructive lifestyle), and began to recognise limits and celebrate a paradigm shift where, living here in the Wasteland of the Free, 3 life can never be the same again …… in these dark days of the revenge of nature.4


1 See – Archive / debttrap kunstpraxis / some debt / how to explain western civilization to a dead hare
See also

2 Definition: Emancipation – To set free from control, to release from civil, moral, or intellectual restraint.
3 Wasteland of the Free – written by alt-country singer / songwriter Iris Dement.
See also:

4 See Drawing from Cities of the Dead – Archive / Oversite / Cities of the Dead




Limbo (li-mbo) noun 1. the name of a dance (N. American) popular in the Sixties (thus. do the Limbo: verb. to Limbo). “Slide into the Limbo, yeah, how low can you go ….. ?” Bob and Earl. Harlem Shuffle

2. a state of affairs (orig. a place) usual usage with negative connotations (thus. in limbo, out of limbo) from Latin Limbus:

a. A region on the border of Hell. b. Hell, Hades. 1637.

c. Prison, durance. 1590. d. Any unfavourable place or condition, likened to Limbo. 1642. e. Used technically in literal sense of ‘border’ or ‘edge’. 1671. f. a zombie-like condition.

3. in Limbo. a. a mental or physical state of suspended activity as a result of reflection on intention and its outcome (ironic, comic, tragic, etc.).

b. a social condition. 1. everyday life (the present) as a state of Limbo (between an unfinished history, memory, etc., and the construction of a future). 2. Limbo as a result of Lost Reputation. Moore.

c. a political condition. 1. c.f. the fate of politicians and political action in Western democracies (in Limbo between a global corporate elite and local communities, particularly in regard to war, famine, global warming, GM crops, etc.). 2. “The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.” (A. Gramsci.)

d. the fate of the avant-garde with relation to social transformation (rather than merely personal liberation) as a result of either its assimilation into an unchanged mainstream as ruins (T.J. Clark) or a partial appropriation by society as signs of social change. (fashion, etc.)

e. as a result of historical amnesia or a contemporary blindspot.

f. a positive condition (uncommon usage). Productive withdrawal.

Double Take Installation Windows Gallery, Prague 2000


Party Time_Installation View

Party Time Installation Galerie Camera Austria, Graz 2000






On Line 1989


If we look back over the last years of the last century we will recognise that beginning in the 1980s two somewhat startling and interrelated phenomena occurred which have great significance for the world we live in today; namely, the emergence of the Museum as Celebrity and the Triumph of Culture.

It should be obvious to everyone by now that the primary function of ‘the Museum’ today is to legitimise Tourism as a cultural activity. Of course those whose lifestyles depend on the success of the Culture Industries would argue that far from being a primary function this is merely an unfortunate side effect of the Triumph of Culture.

Two actual side effects however, are the much-noted increase in property values in the surrounding areas of Celebrity Museums, along with the ‘beneficial’ effects on a depressed local economy. Secondly and much less commented on is the presentation of art/culture as merely another form of consumerism.

At the beginning of the end of Modernity French philosopher Jean-Francois Lyotard, commenting on the emergence of post-modernity in relation to the concept of progress, from a perspective rooted firmly in heroic Modernity however, pointed out regarding science and technology that: “All of us can see that development takes place without leading to the realisation of any of these dreams of emancipation.”

Whilst all of the historic ‘unfinished’ utopian impulses and movements of Modernity lie in ruins, the language of the ‘grand narratives’ now merely the slogans of advertising; it is deeply ironic that it is the ‘subversive’ strategies of modernity which have come to fruition through this Triumph of Culture.

For instance: the contamination of High Art by Popular Culture; the infiltration of the Mainstream by marginal Subcultures; the interruption of Theatrical/Literary Illusion by ‘random’ Reality; the challenge to the domination of ‘conventional’ Reality by the contamination of Illusion, the subconscious drive and the Surreal; the ‘visionary’ Romantic ethos as a challenge to the Protestant work ethic; the Anti-Aesthetic and Poor Art as Anti-Spectacle; faux Populism and the ‘ironic’ celebration of cliché; and all the rest.

All co-opted, celebrated and packaged side by side in the eternal present of the Museum, and inhabiting the same space as Big Brother and Little Britain, Hello magazine and mass Attention Deficiency Disorder; in a dystopian world where everyone is a celebrity (including artists), everyone is a critic (excepting artists) and everyone is a curator; absolutely essential and totally disposable; knowingly ‘hip’ yet comfortably conservative; both subversive and mainstream at the same time. The Triumph of Culture as the emancipation of banality. 1

Today as the structural problematics, both theoretical and operational, of the New Millennium make themselves clearer, and we can begin to view more accurately the ‘triumph’ of Post-Modernity, perhaps we should paraphrase Lyotard to say that: All of us can see that Emancipation (through techno-science and consumerism) takes place without leading to the realisation of any of these dreams of social justice.

As the misunderstood and much maligned Jean Baudrillard theorised towards the end, from a perspective firmly rooted in the Post-Modern: it is Emancipation and not Repression which has emerged as a primary threat to human survival. 2

The Triumph of Culture as entertainment (of which the Museum as Celebrity is but a symptom) and Emancipation, together with the issue of Legitimation, 3 reveal themselves then as three of the defining structural characteristics of the 21st Century.

In the Post-Modern dystopia of today, the Museum, by utilising spectacle (of itself and its contents); by mobilising arguments of accessibility and by appropriating (like Post-Modern society itself) all the subversive movements for its overthrow, has become the success story of the New Millennium – where the ‘democratisation’ of culture as commodity has emerged triumphant over politics. Critical distance, critical discourse and ‘the capacity to be a critical practice of negation’ have disappeared into positive thinking, promotion 4 and propaganda. 5

The Museum as Celebrity – Art, Architecture and Culture perfectly at home in a society of hysterical consumption and the complete financialisation of everyday life, where Repression has been banished and Emancipation has been achieved. Take your desires for reality. Live your dreams.


The Ramones Gabba Gabba Hey


Perhaps it is no coincidence that the ‘grand narratives’ of Modernity were being dismantled at around the same time as the actually-existing Communist Utopia disintegrated. So today, living in a triumphant ‘post-ideological’ era, perhaps some of us are demanding too much.

After all, it could be that from the beginning the very concept of ‘the Museum’ is flawed. As either a collection arranged to demonstrate a linear history supporting an inevitable present, or a collection of all that is ‘good, beautiful and true’ in human thought and action, saved (by religious men) from inevitable apocalypse; the museum (like Spectacle) always fails.

This means of course that the Museum – full of ruins (decontextualised ruined intentions) – is always already discursive, despite all the best worst intentions of everyone involved.

Tracing the complicity of the Culture Industries with the glorious ‘failure’ of the Museum is another story. However, historically, many avant-garde artists have attempted to undermine the death of art in the museum, not only by working outside the museum but also by entering into it and attempting to subvert it from within.

One such attempt can be illustrated by the following story. At the centre of the museum in Monchengladbach designed by Hans Hollein there was a sculpture by German artist Joseph Beuys (whose involvement with Fluxus, the Free University and the Green Party tended to point to a political concern with the life of art in the world), which consists mainly of huge lumps of fat. Because of the temperature in the museum the fat threatens to explode and has had to be strapped up with metal bands.

Every day, the temperature of this alien monster in the heart of the smoothly functioning machine has to be taken. This is done by drilling a hole into the fat large enough to take a thermometer, and this (like a lump of Swiss cheese) accounts for the (dis)appearance of the work.


1 The entropic recycling of ‘Broken Reflections and Ruined Intentions’ as cliché.
2 Definition: Emancipation – To set free from control, to release from civil, moral, or intellectual restraint.
3 That is, the failure of Democracy and the crisis of Professionalism – resulting in a revival of Fundamentalism of all kinds, Terrorism and appeals for a return of ‘Trust’ – religious faith in its modern form.
4 With a contemporary revival of a Cold War call for “restoring art’s capacity to be a practice of freedom.
5 The function of propaganda is not to persuade and convince the sceptical critical thinker but to provide cover, an alibi, for people (the majority) to enable them not to have to make difficult ethical and moral choices.


Triumph of Culture Project by Art in Ruins
The Art of the Gallery issue, RIBA Journal January 2010
Also at: Theory Beyond the Codes 2011
Marielouise and Arthur Kroker eds.