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The hipster too was a semio-naut; whose careful balance of fashion’s signs were an additive and appropriative construction of appearance and identity, a careful facade of references, and so the concurrent rise of Rachel Harrison [with the hipster] makes symptomatic sense for its ability to thematize semio-collapse and short-circuits in a way that was jokey, pranksterish and light relief against undeconstructable-tuber confusion of “the real” having really ascended into code that both Harrison and Hipsters were obviously responding.
Condensing the mall into the diamonds of its peak 2006-08 moment we have to admit it was a pretty neat trick, the things just felt like collapse within singular objects.
The fallout of [this] semiotic manicism/collapse/supernova, of the 00’s assemblage (Harrison, Genzken, Pernice et al) and the exploding of Unmonumental’s detritus, left the next generation picking cultural rubble. Artists became post-apocalyptic cargo-cult, artists, still wanting to believe, began to reassemble totems of cultural meaning. Staedelschulites rehashing a form of ready-made-marxist-surrealism, societie's tchotchkies made to “speak” the tongues of the Invisible Hand, worship of gods who must be crazy. Post-Lieske - the real rabble of Neue Alte Brucke, Pro-Choice, etc. - Ceccaldi, Yngve Holen and everyone else - rearranging/collaging/juxtaposing the signs of capital as some sort of anti-altar to them - the whole "arrangements" phenomenon, tableaus of cultural artifacts, seen again and again and again on the rugs of art fairs everywhere - finally hitting bedrock in the strip-mine of Darren Bader just arranging capital’s objects on the floor.