Armory Show.

It is beyond the art, the VIP lounge, and the super-orchestrated Ecstartsy-land where the very riches and the most successful gallerists hit their highest high after coke has failed. It is beyond the people and their love and hunger for beauty, vision, intelligence, and culture and is beyond the gallery's actual success and their "worthiness" to be nominated as part of the Armory. And of course, it is beyond the artists and their needs to finance their next art and their own anxiety of what the future holds for them.

It is the ultimate war zone: the honorable cause, the blood and struggle, the media and critics. It is a cult of a greater system: the rise and fall of an era and society.
And many of us, the most cultured ones, want to be part of and are welcomed and encouraged to be in the circle. The place where we can be accepted for who we really are: the carnivores of products and outcomes of wealth and derivatives of capitalization. The sharks of our own rights: hand signals, peripheral vision, internet searching of names and backgrounds.
We truly are one of them and we just smiled admitting to that.

Far beyond, in the same horizon, there lie thousands of brilliant and colorful works awaiting to be paid, shipped, and possesed. And for mere three minutes, 150G, and extra sweet conversations and information exchanges with the dealers, art carnivonnaisseurs could own the freshest ideology that artists finished solidifing AFTER the signing of their contracts with the galleries sometimes in late 2006/ early 2007.
Now we wonder: for Salomon's or Tully's sake, where the majority of the artists being showed are standing among all this chaos (obviously, minus Warhol, Dali, et all representing the dandy and the dead, and Damien Hirst or Ono representing the superstars)? And why should art be this complicated? Why can't it just be 'me' and 'me' appreciating the artists and art that 'I' like?

Get over it, people. Economy has spoken far louder then the ideal art term. Art is not just a palette where alter-egos and the seven sins are the ingredients that make it intriguing and appealing. Art is a serious business and those who see otherwise should grow up and understand that even Rome wasn't built in one day and around twenty dollars.
So clutch that Prada, hop into your limo, and hit the pier with your own power tsunami. Alternatively, you can go to the Met and get some 2 for $10 masterpieces located on the sidewalk to the right and left of the entrance and spend your evening sipping California chardonnay while admiring yourself "Oh brilliant me spending so little money on such a beauty!" knowing several hundreds people all around the world are owning the same piece as you. The same piece that came in a crate labeled "VAN GOGH. 50,000 PAINTINGS. MADE IN CHINA".

***

Here's to THE TALENTS.
There are hundreds of artists being shown, we do feel very strongly of these names:
Jon Pylypchuk, Rodney Graham, Jason Martin, James Rielly, The Beijings (Zhang Huan, Fang Lijun, Liu Jinhua), Haunch of Venison & White Cube (London Galleries), Timothy Taylor & Almine Rech (NY Galleries).

And here are the several pieces we love:
Anselm Reyle @ Almine Rech, the Japanese anime dolls @ Lehmann Maupin, Damien Hirst @ White Cube, Marnie Weber @ Fredericks & Freiser, Jason Martin's 'Kush' @ Lisson.

COOL PRODUCT OF THE DAY

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