Absolut Hypocrisy II reference:
Notes further to a number of meetings at both the Bolivian and Venezuelan embassies in London
Dearest Zuleiva (cultural attaché Venezuela, London)
The projects i am proposing are to be a high profile individual/series of performance based works featuring the dramatic and theatrical destruction of confiscated Cocaine, (both in Venezuela and hopefully other south american countries). The projects are to be a powerful amalgam of politics, Art and social engineering, very much in the once proud Socialist tradition of AgitProp (agitation propaganda). In these works I hope to raise understanding and the growing profile of the absurdity and obscene human cost of the disastrous and notional 'War on Drugs' in both the consumer, production and transit countries. I am making these works also as a strongly autobiographical series, based upon my 18 year addiction and involvement in narcotics, from which i am now 18 years clean and free and still actively involved in anonymous help groups and treatment, and as a follow up to the small scale yet intellectually satisfying absolute hypocrisy work in london. I suggest that the only way to make these works is with the very highest level of government support (presidential?) as we shall be working against deeply embedded, powerful, violent and corrupt interests. After my interesting and successful meetings with Bolivia's Ambassador Gonzalo Montenegro, it was disappointing to learn that he has now left his post and that there will be no effective continuity with the incoming Ambassador, therefore your own efforts in venezuela become all the more important. The works should be presented as part of a much wider debate, and should be organised within a framework of discussions, health and education initiatives (the establishing of cocaine anonymous meetings in south america would be unbelievably beautiful). My personal aims are quite revolutionary in this field of a notional 'war on drugs', seeing a future where in both the main consumer and production countries, an intelligent legalisation can turn this health and crime pandemic around, and bring the vast revenues (equal to oil and arms) back to help the people in sustainability, education and treatment, and away from the international politics of fear and military control so favoured by the west and it's vested interests. The actual details of the Artworks will be finalised as the project moves forward. My initial proposal of burning an American flag made from a million dollars worth of cocaine is, i have to concede, perhaps too barbed and aggressive specifically against the united states of america, yet in essence the message is the correct one, that the demand from the north pours the the fuel of money into the flames of misery across the globe. Artifacts. Texts can be make from cocaine, references to historical and artistic icons can be exploited (imagine a series of Carl Andre Equivalents made from packed slabs of cocaine and then being burnt)? It is possible to cast from cocaine base in a performance (filmed for documentary) production, where perhaps we could make 'crack babies" and other figures in their hundreds, before destroying them in fire. I have an number of ideas that can be developed including perhaps, taking the project to a future Venezuelan pavilion at the Venice Bienalle where the carbonised remains of the cocaine performances can be displayed or re enacted (Imagine actually displaying a life sized crack baby and shipping that to italy, the sheer diplomatic absurdities that would arise with even such a proposal, let alone actually doing so, would make for a complete conceptual work in the best Fluxus traditions. ha!). I believe we will be able to make a vast cultural, social and political capital from these projects, if pursued intelligently and a with light hand and wry humour. This is just an initial outline that i hope shows my seriousness and commitment and willingness to find a way forward. A far more detailed and specific proposal can be made once there is a real interest. I was most inspired when we first met in the embassy, as you seemed to instantly grasp the possibilities inherent in the project and i am hoping that this note will give you some fuel to help us move at least one step forward. further political reference http://www.guardian.co.uk/commentisfree/2009/sep/03/drugs-prohibition-latin-america response Dearest Simon. I want you to know I still am very enthusiastic about this project, and I keep thinking about it. Specially this last more specific proposal with the cocaine anonymous meetings throughout latin america, and the artifacts. It's not that I have forgotten about the project, but that the situation in venezuela right now is very complicated with other issues. The political arena and the power struggle against chavez is taking all the attention of the people in the highest levels. It is not very easy to adress someone in a high position right now about cultural or artistic issues. Nevertheless, I've been thinking that the Organizacion Nacional Antidrogas (the national antidrugs organization), whom I first contacted about this project, are not the best way to get the project going. They only develop programs of education, social integration and meetings. I think we should contact the Ministry of Interior or Justice directly, since they are the ones in charge of confiscating and destroying the cocaine. At the moment, I am in Spain until the end of the month. When I return to Venezuela, I will continue trying to contact the right authorities to get this going. I will let you know of my progress. Good to hear from you, kisses, Zuleiva.
absolut hypocricy a politisised text described in 12 grams of cocaine hydrochloride
on a 20mm base of mirror glass
edition of 2 simon tyszko 2002 Tyszko’s theme of cultural politicisation is given acute emphasis with the work Absolut Hypocrisy, a piece which invokes a number of extremely potent and conflicting value systems. The work comprises a kit and instructions, the owner of the artwork using a stencil and creating the work according to the artist’s instructions. A quantity of real cocaine is placed within a mirrored vitrine, first having been passed through a stencil so as to spell the words ‘Absolut Hypocrisy.’ This makes reference to a vodka brand called Absolut, which has marketed itself by making knowing puns on the word absolut(e) in its advertisements, invoking the artworld and individual artists, as well as by sponsoring art events. Using the medium of cocaine, Tyszko offers up his own, past experience, of a (now ended) twenty years of illegal drug use, to this brazenly commercial, legal model. In this way the artist puts his personal experience and art to the service of a militant challenging, exploring the corporate ‘dealing’ of a glamorously sanctioned, alcoholic psychotropia.
Illuminated with a spot, the twelve grams of highly illegal cocaine in Absolut Hypocrisy glisten and gleam in their prestigious vitrine, with ambiguous aura. The cocaine in the work has a black market value about £1000, further increased by its commodification into an artwork – confirmed in market terms by having been sold, at an exponential mark up, to a collector.
Tyszko says, ‘In making this work I have attempted to look at a number of value systems – political, artistic, personal and financial – and at the complex interrelationships between them.’ With Absolut Hypocrisy further and changed value systems are given to what is a simple, plant based substance, whose final co-opting by the artist within the contemporary art world further fetishises the drug, its value so increasing by a staggering factor.
‘Since prohibition,’ Tyszko continues, ‘a new paradigm has come into being, one that effectively fetishises the product and creates a value greater than its actual worth. The greater the distance it travels, the greater the value becomes, as more and more people interact within the externally imposed value system.’ Absolut Hypocrisy might, in some senses, be called a drug deal, the artist exploring, in a staggering provocation, notions of personal identity through consumption.
Absolut Hypocrisy II reference:
Notes further to a number of meetings at both the Bolivian and Venezuelan embassies in London
Dearest Zuleiva (cultural attaché Venezuela, London)
The projects i am proposing are to be a high profile individual/series of performance based works featuring the dramatic and theatrical destruction of confiscated Cocaine, (both in Venezuela and hopefully other south american countries). The projects are to be a powerful amalgam of politics, Art and social engineering, very much in the once proud Socialist tradition of AgitProp (agitation propaganda). In these works I hope to raise understanding and the growing profile of the absurdity and obscene human cost of the disastrous and notional 'War on Drugs' in both the consumer, production and transit countries. I am making these works also as a strongly autobiographical series, based upon my 18 year addiction and involvement in narcotics, from which i am now 18 years clean and free and still actively involved in anonymous help groups and treatment, and as a follow up to the small scale yet intellectually satisfying absolute hypocrisy work in london. I suggest that the only way to make these works is with the very highest level of government support (presidential?) as we shall be working against deeply embedded, powerful, violent and corrupt interests. After my interesting and successful meetings with Bolivia's Ambassador Gonzalo Montenegro, it was disappointing to learn that he has now left his post and that there will be no effective continuity with the incoming Ambassador, therefore your own efforts in venezuela become all the more important. The works should be presented as part of a much wider debate, and should be organised within a framework of discussions, health and education initiatives (the establishing of cocaine anonymous meetings in south america would be unbelievably beautiful). My personal aims are quite revolutionary in this field of a notional 'war on drugs', seeing a future where in both the main consumer and production countries, an intelligent legalisation can turn this health and crime pandemic around, and bring the vast revenues (equal to oil and arms) back to help the people in sustainability, education and treatment, and away from the international politics of fear and military control so favoured by the west and it's vested interests. The actual details of the Artworks will be finalised as the project moves forward. My initial proposal of burning an American flag made from a million dollars worth of cocaine is, i have to concede, perhaps too barbed and aggressive specifically against the united states of america, yet in essence the message is the correct one, that the demand from the north pours the the fuel of money into the flames of misery across the globe. Artifacts. Texts can be make from cocaine, references to historical and artistic icons can be exploited (imagine a series of Carl Andre Equivalents made from packed slabs of cocaine and then being burnt)? It is possible to cast from cocaine base in a performance (filmed for documentary) production, where perhaps we could make 'crack babies" and other figures in their hundreds, before destroying them in fire. I have an number of ideas that can be developed including perhaps, taking the project to a future Venezuelan pavilion at the Venice Bienalle where the carbonised remains of the cocaine performances can be displayed or re enacted (Imagine actually displaying a life sized crack baby and shipping that to italy, the sheer diplomatic absurdities that would arise with even such a proposal, let alone actually doing so, would make for a complete conceptual work in the best Fluxus traditions. ha!). I believe we will be able to make a vast cultural, social and political capital from these projects, if pursued intelligently and a with light hand and wry humour. This is just an initial outline that i hope shows my seriousness and commitment and willingness to find a way forward. A far more detailed and specific proposal can be made once there is a real interest. I was most inspired when we first met in the embassy, as you seemed to instantly grasp the possibilities inherent in the project and i am hoping that this note will give you some fuel to help us move at least one step forward. further political reference http://www.guardian.co.uk/commentisfree/2009/sep/03/drugs-prohibition-latin-america response Dearest Simon. I want you to know I still am very enthusiastic about this project, and I keep thinking about it. Specially this last more specific proposal with the cocaine anonymous meetings throughout latin america, and the artifacts. It's not that I have forgotten about the project, but that the situation in venezuela right now is very complicated with other issues. The political arena and the power struggle against chavez is taking all the attention of the people in the highest levels. It is not very easy to adress someone in a high position right now about cultural or artistic issues. Nevertheless, I've been thinking that the Organizacion Nacional Antidrogas (the national antidrugs organization), whom I first contacted about this project, are not the best way to get the project going. They only develop programs of education, social integration and meetings. I think we should contact the Ministry of Interior or Justice directly, since they are the ones in charge of confiscating and destroying the cocaine. At the moment, I am in Spain until the end of the month. When I return to Venezuela, I will continue trying to contact the right authorities to get this going. I will let you know of my progress. Good to hear from you, kisses, Zuleiva.
absolut hypocricy a politisised text described in 12 grams of cocaine hydrochloride
on a 20mm base of mirror glass
edition of 2 simon tyszko 2002 Tyszko’s theme of cultural politicisation is given acute emphasis with the work Absolut Hypocrisy, a piece which invokes a number of extremely potent and conflicting value systems. The work comprises a kit and instructions, the owner of the artwork using a stencil and creating the work according to the artist’s instructions. A quantity of real cocaine is placed within a mirrored vitrine, first having been passed through a stencil so as to spell the words ‘Absolut Hypocrisy.’ This makes reference to a vodka brand called Absolut, which has marketed itself by making knowing puns on the word absolut(e) in its advertisements, invoking the artworld and individual artists, as well as by sponsoring art events. Using the medium of cocaine, Tyszko offers up his own, past experience, of a (now ended) twenty years of illegal drug use, to this brazenly commercial, legal model. In this way the artist puts his personal experience and art to the service of a militant challenging, exploring the corporate ‘dealing’ of a glamorously sanctioned, alcoholic psychotropia.
Illuminated with a spot, the twelve grams of highly illegal cocaine in Absolut Hypocrisy glisten and gleam in their prestigious vitrine, with ambiguous aura. The cocaine in the work has a black market value about £1000, further increased by its commodification into an artwork – confirmed in market terms by having been sold, at an exponential mark up, to a collector.
Tyszko says, ‘In making this work I have attempted to look at a number of value systems – political, artistic, personal and financial – and at the complex interrelationships between them.’ With Absolut Hypocrisy further and changed value systems are given to what is a simple, plant based substance, whose final co-opting by the artist within the contemporary art world further fetishises the drug, its value so increasing by a staggering factor.
‘Since prohibition,’ Tyszko continues, ‘a new paradigm has come into being, one that effectively fetishises the product and creates a value greater than its actual worth. The greater the distance it travels, the greater the value becomes, as more and more people interact within the externally imposed value system.’ Absolut Hypocrisy might, in some senses, be called a drug deal, the artist exploring, in a staggering provocation, notions of personal identity through consumption.