(link)
For all conceptual art’s fetish for bureaucratic language and dry instructions Raspet presents a shutout on their game by introducing a linguistic specificity from which art - whose amorphous problems produce vague words - could never compete. Less a Carey Young legalese, than a Weinerian instructional awkwardness, (“Matter caused to cease as it had”) producing, in its specific jargon, a scientific “great doubt” at the edge of understanding between phenomenology and experimental vs speculative understanding, of asking the sound of chiral cleaning chemicals clapping.
It could seem derivative aside from its deployment of a hyperbolic language within its pre-given forms of poetics if the questions asked weren't so stupidly designed to be answered. We can answer now the kōan, “What does the coke in a mirror taste like?” I, unfortunately, would like to know. The answer would require at least 3 papers expressing its at least 3 answers, and where are they Sean? I'm sure it is expensive, but surely someone would like to buy the world a synthesized enantiomerically opposite Coke.
See too : Goutam Ghosh at Standard Oslo , Sean Raspet at Jessica Silverman
