POPPOSITIONS is an annual assembly in Brussels of galleries, artist initiatives and project spaces. More than an art fair, POPPOSITIONS encourages new, experimental and innovative approaches to the art market. It is both a curated exhibition and an ongoing critical dialogue.
The 8th edition of POPPOSITIONS will revolve around the term “woke” and how its mainstream popularity and increasing application intersects with corporate and capitalist structures. The idea of being woke and wokeness concerns raising social awareness, taking actions in response to dominant paradigms, acknowledging one’s privileges towards understanding the struggles of others, and giving space to social bodies that have been silenced, unacknowledged and underrepresented. With the forthcoming edition of POPPOSITIONS we want to think collectively about what responses and forms of resistance can be formulated when ideologies have become trendy and woke-washing brands cash in on social justice.
For the 8th edition of POPPOSITIONS, VITRINE is delighted to present an installation of sculptural works by Jamie Fitzpatrick for POPPOSITIONS 2019.
The stand will be comprised of a series of mixed media sculptures of varying size, exhibited on plinths and free-standing.
The works will include ‘until you see the whites of their eyes’ (2018); Drawn from colonial films that glorify white heroes who have defeated, either in battle or morally, a non-white ‘threat’, this sculpture has traumatically torn faces whilst childishly singing and moving. In this and further new works, Fitzpatrick wants the spectacle of victory to be turned into a pathetic, meaningless grandstanding of a nationalistic narrative creating a false rhetoric.
To further extend the white colonial polemic, the works are arranged in the style of early 20th century sculptor’s ateliers and the cast rooms of Museums and Art Schools across Europe at that time. Condensed into the centre of the space so that the claustrophobic display provokes a sense of intimidation. Through this type of display, the myriad forms of the sculptures begin to function as obstacles, rather than objects. This is intended on playing with the power dynamic between the viewer and the artwork because the sculptures then dictate the viewers interaction. The works will exert physical authority over the viewer by crowding paths, intermittently moving because of their animatronic function.
The installations excessive examples of ‘properness’ will be installed to create an oppressive assemblage of happy ideology, involving a mass of ‘proposals’ for statues, monuments and socially repressive architectural infrastructures forming a transgressive collection of privileged forms of beauty, power and oppression. Together, these will form a collection of unrealised monuments to a false utopia of capitalistic and colonial ideals.