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The end too is romantic, romanticized, see it here with the neo-ruins of culture.
Gnam’s apocalypticism, a new PR sandwich board proclaiming end’s nigh, fits well the unaligned shadows conspiracy, hypothesizing culture’s drive towards death fueled by accelerationists manifesting it, and calling criticality a vestigial romance, quaint by capitalist standards in which market survival is criticality of the most dispersed, invisible and perfect hand culling future seed to bank civilization.
You could be cynical and say Gnam’s art is merely an aestheticization of this “the end” premised in the PR, sown as anxiety held over futures to be reaped as sales for its holistic remedy against unceartainty that this art will see you through with certainty, a marketing mechanism and perfect decor for post-apocalyptic party in Brooklyn - “Have Fun” - that like Ke$ha’s transcendence through capitalist self destruction, the exhibition mirrors culture’s urgency for us to destroy ourselves so it may extract it from us.
Perhaps the best part about this all is that like Sci-Fi, which all of the Gnam’s work is, providing at least a theater of excess, that like the image of the man dressed in an almost futuristic Kabuki theater, an over the top extrapolation of now into tomorrow, a fiction pleasing like the inherent comfort of ghost stories, sci-fi predicts its after styled to meet the demands of its maker today.
See too : Flame at 576 Morgan Ave Apt 3L Gallery
