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At his Bard MFA Arakawa created and ran a bar in the concrete center of the summer program already known for parties, a means of reifying the all important social relations of schools and friends to its site of exchange, and in the several hundred exhibitions since Arakawa’s Friendibitions have become a means of rapidly dispersing the self into a ballyhooed network, burying the author for the friends he can raise. Holmqvists interest in redundancy and quasi-childlike carefree fit almost too well with with Arakawa’s quasi-spirituality and redundant-idealism exposing the bedrock of its child-like unstoppability, that like equating Bucky-balls (the most art over-referenced object of all time) to a Childhood playgrounds as well the mountainous Dolly Parton Nuclear Plant, its less about the objects themselves and more about just getting it filled with everyone linked in.
See too : Ben Shumacher at Bortolami , Stefan Tcherepnin at Freedman Fitzpatrick.html , Will Benedict at Bergen Kunsthalle
