"OUR WORK REVEALS AN INNER CALM, WHILST ALSO ALLOWING US TO ECAPSULATE A HOLISTIC VACUUM WHILE OBJECTIFYING CONCENTRATIONS OFTEN SEEN AS ITERATIONS OF THE CUTTING EDGE"
pump are a group of five artists who call themselves a collective. Like Banksy, their origins are intentionally shrouded in mystery. Responses to their latest Youtube event suggest they originally met at Goldsmiths.
This latest piece from the collective appears to question our assumptions on the very nature of sculpture.
Is it a reference to Andre’s challenge to the Art Establishment of the ’60s? Is it simply a publicity stunt? Perhaps it is a genuinely thought-provoking work of art disseminated by new media.
10 comments:
This piece has changed the way I look at art. More than that, it's changed the very way that I look at my own life and work. Breathtaking.
It's not what the piece says, it's what it *doesn't* say that really speaks to me.
Life is meaningless in the face of great work.
In the current climate where CRAFT as a valued expression of creativity is re-surging, the choice of using handmade bricks celebrates the craft of making by hand over mass production.
A contemporary reponse to encapsulate a holistic nostalgia without ever quite fully experiencing images seen only as creations of the matrix....
Love it......
I read about this in The Guardian and a lot of important people were saying that this is a pivotal moment in the development of British art.
Think Hirst.
Think Emin.
Think PUMP.
Brit Art is alive and well!
A pile of bricks suggests many things. A nod to Andre's controversial brick sculptures, civilisation, industry, love or even The Wizard of Oz. But here I think the bricks express the for a dwelling. A place in which we enter and are confronted with the question; where does art stop and life begin?
It is clear the 'PUMP' are continually pushing these boundaries in every exhibition/master-piece they produce. Perpetually blurring the line between life and art.
For 'PIMP' it is clear that life IS art, and art IS life. Contemporary art in London is grateful for 'PUMP'.
Pump.. a new anonymous collective, is it riding on the back of the great Carl Andre controversy of the Tates' bricks or bringing new questions to the fore? At this time as the debate rages over where to draw the line between Art and Craft might this be a comment on the aspirations of the 'makers' who are getting their hands dirty out there in the art world after many years of what might be called 'distanced art'. Works thought up by the individual artist but made concrete by other anonymous makers. Well done Pump for raising the bar on these debates...if that is what you are doing?
The contrast of blue steel against concrete and clay is sublime.
A Caro/Andre collaboration simulation?
At last, a piece that makes you go 'WOW'!!! Just a glimpse of this made hairs stand up on the back of my neck that I didn't know I had before.
Clearly, 'PUMP" are truly ascending to places that are beyond the reach of even the most open/likeminded conceptualists/vertebrates.
Such thought provoking contrast in a single piece usually, in my experience, compromises the very kinematic message of a work.
As much as the work is suggestive of the traps and cages that can befall even the most conscious of beings, there are also many hints at the perpendicular.
With 'The Loss of the Self in a Time of Uncertainty', 'PUMP' have proved without a doubt that it is indeed possible to get closer to the sensitivity of the speed of ones essence of ones sensitivity.
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