Matthew Lutz-Kinoy, Mussel plates: snail arena, 2014.
Ana Ofak writes about the economies of the color pink, Los Angeles, and the recent goings on at Supportico Lopez, Berlin:
Los Angeles has long been pursuing the economies of pink, but it has been pursuing a phantom. Pink is a non-existent wavelength of light. We cannot perceive it, but literally imagine it. Its features disclose themselves in every BPA-free bottle of pink coconut water, in Lindsay Lohan’s strawberry blonde tresses starring in The Canyons (2013)—Paul Schrader and Bret Easton Ellis’s “acid-etched horror story” complete with a trailer by Kanye West—or ultimately in every smog-induced sunset spectacle off Santa Monica beach. A little bit like Ed Ruscha’s pastel-on-paper work Another Hollywood Dream Bubble Popped (1976), the economies of pink allow the space of representation, not the pictorial space to rule. About that space of representation, Michel Foucault wrote that it transpires “only on the surface, no more than a polished stone, bearing words and shapes: beneath, nothing […] a gravestone.”