IT SEEMS SO LONG AGO
13.03.2016 - 10.04.2016
(Without too many brackets, please)
Frankly we do not know that much about him.
According to his biography (more a list of previous shows than an attempt for a literary story) he was born in Brooklyn in 1979. ? at was the year when David Walentas lent 12 million dol-lars to buy 18 hectares of neglected neighborhoods and realized one of the most high-pro? le real estate transactions in the history of New York.
When you ask him about his childhood or youth, you encounter a wall of silence. ? is makes us fear the worst (wounds barely healed), but also the best (a secret and pure paradise that must be protected).
But none of this really applies. Jakup Auce enrolls in the now. Only narrow and uninspired minds are trying to associate him with any generation X or Y.
You focus best on his art work to understand him (though chances are he’ll say that’s not good for anything, not for you, not for him). ? e word plastic is perhaps not the right word, consid-ering he has a tendency to break the canon of classical iconography.
The nights of Jakup Auce resemble those of his desires. ? e whip strikes, the anus is pinched, the lips relax. ? e orgasm is not there. ? e organism is everything. Penance is harsh reality. ? e desire is virtual.
Let us not delude ourselves. Everything in the art world depends on possession. ? ose who have nothing, not even talent, the rest horny disgusting temptation. Smooth and corrosive.
Eyes, a nose and a mouth: openings, entrances, humiliations. Clean, eat, vomit, bleed. Nothing inhuman’ll be strange.
And if you have a preference for theater, do not forget that you’re the most important of farce.
SD, for JG, as a token of homage and submission, March 2016.
Exhibition views can be found on Art Viewer: http://artviewer.org/jakup-auce-at-dash/