Artist: Jutta Koether
How can we understand Mad Garland —or better yet—what “chain of theoretical effects” does it set off? (1) If pinning down the work is a struggle, I am led to believe that this is entirely its intention. Mad Garland does not give itself up easily, in part because it does not sit still. Its catenary figure materializes and liquidizes as it moves from Nicolas Poussin to Nick Land to Jan Fyt to Francis Bacon to Deleuze and Guattari to Quentin Meillassoux to T. J. Clark to “The Speculative Turn” to Pierre Klossowski and back again. It moves in and out of painting. It is a prop, an offering, a trigger, and perhaps most of all, it is a way to get from one place to another.
Mad Garland is decelerating. It comes to the Center for Curatorial Studies, Bard College in a pile up. Then it moves on…(2)