An accretion disk of Trump tokens.
Artist Andres Serrano depicts The Donald in all his gilded glory and showcases piles of promo products and paraphernalia that will make all Wokesters very, very triggered.
“It’s not whether you win or lose; it’s whether you win.”
Andres Serrano’s ‘The Game: All Things Trump’ is a tsunami of Trumpism punctuated with political Pop sauciness, kitschy thingamajigs and ideological taint. It reminds us of those gagged up readymades that Marcel Duchamp made during the WWI years but less gimmicky. Haters and Wokesters will connect the exhibit to American-style Nazism, nascent totalitarianism and the ‘new authoritarianism’ with its endless MAGA merch, fleshy Melania imagery, graphic agitprop goodies and symbolic alt-right radiations. But don’t believe the driveling #risistors and virtue rangers: the show is actually a sprawling agglomeration and intelligent explication of the populist revolution currently in full swing and the underpinnings that gave rise to The New Right’s riotous insurgency with the Golden Golem of Greatness at its helm.
Situated on West 14th Street (Lotus’ old space) and featuring two florid floors of thousands of Trump-related things and objects, such as autographed masks, corporate mementos, branded resort souvenirs, sponsorship logos, magazine covers, foreclosure notices, loan documents/term sheets from moneymongers like Deutsche Bank and Lazard Ltd., vintage video reels, and prankish para-military (hotel security) garb, the show chronicles the seemingly never-ending gush of headlines, hyperbole, buzz and coverage from teflon Don’s chief enabler: the popular press.
You’ll laugh at the New York Post’s salacious covers showing must-read stories about Trump’s divorces and scuppered business deals, headlines like “The Best Sex I Ever Had” — an engineered quote from Donald’s second wife, Marla Maples, that turned out to have been called in by someone masquerading as a Trump Org spokesperson; and countless cover stories from Time, Newsweek, TV Guide, People, GQ, Fortune, Palm Springs Life, and The National Enquirer, not to mention the endless plugs by cable TV networks, obscure broadsheets and internet blogs. It’s not just the story of a singular property tycoon-cum-media chameleon forging his narcissistic path in NYC’s piranha-infested estuaries. It is also a composite of America’s crazed collective psyche and zig-zaggy zeitgeist — a portrait of capitalist America itself in all its commodity fetishism, materialistic zeal à la Patrick Bateman and rapacious cultural id.
The artist, Andres Serrano, who made Piss Christ back in 1987, shoots vids for Godflesh and creates album covers for Metallica, said, “I wanted to paint a portrait of Donald Trump using his own brushes…Ever since the ’80s, Donald Trump has been associating himself with a particular vision of American success…that paints him as all-American.” To this end, Andres Serrano took to Ebay to scoop up all the Trump-related items he could get his paws on. “I make art about very basic things,” he says. “Life, death, sex, religion, excrement…it’s only natural that it’s now Trump.”
This exhibit is fucking amazing and ultra-nuanced. Andres Serrano’s extravaganza isn’t just about tooth and fang politics and ideological warfare. Instead, it celebrates the most penetrating, polarizing figure in the Western world — possibly in the whole world — to engender multiple narratives at once: the ‘deplorable’ Trump fiends who came out in droves to empower and elect the populist hypebeast on the one hand; and the ‘lamestream’, super-culpable news industry/Pop culture machine that sustained and nourished the lightning-rod avatar (and the “atavistic” movement he supercharged that, in the words of the NYT, pushes “xenophobia, ultra-nationalism, inter-state collusion and depravity”) on the other. The show delineates the whole manic feedback loop and panicky tipping points between Trump and the press — the complex interdependencies that came to entwine and inflame our current national consciousness and the social justice hysterias that amount to the “new structural despotism.”
The show, of course, has been accused of reinforcing Trumpism by “glorifying this monster,” “giving him attention,” “adding power to this awful man,” and acting as “Trump propaganda” by racist, anti-white crusaders, aggrieved ‘intersectional’ parties and Marxist bugbears (a.k.a. MSNBC, The NYT, The WashPo, CNN, VICE and HuffPo). But we love it for its compelling visual syntax and wall-to-wall wild-style objets d’art and weird widgets of what moves the Trump choo-choo train and keeps the populist locomotive a’chuggin’ down the tracks. Go Andres Serrano!
‘The Game: All Things Trump’ is live now at 409 West 14th Street, New York City, 10014 – April 12 – June 09, 2019
Wednesday – Sunday 12 – 8pm
This post was authored by VIVISXN’s proprietary Art AI Thought Bot ®
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Andres Serrano’s Trump-inspired art + Art in the West Village, NYC + Commodity Fetishism + Irina Serrano + ‘Lord of the Financial Jungle’ + ArtX + Andrei Tretyakov + Old Lotus NYC + A.O.C. is a CUNT!