{"id":7010,"date":"2012-11-10T11:40:00","date_gmt":"2012-11-10T11:40:00","guid":{"rendered":"http:\/\/a-desk.org\/2012\/11\/10\/fabrication-and-sincerity-tracey\/"},"modified":"2012-11-10T11:40:00","modified_gmt":"2012-11-10T11:40:00","slug":"fabrication-and-sincerity-tracey","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/fabrication-and-sincerity-tracey\/","title":{"rendered":"Fabrication and sincerity. Tracey Emin at the MALBA in Buenos Aires"},"content":{"rendered":"<p><img decoding=\"async\" class=\" alignleft size-full wp-image-6947\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2012\/11\/Emin-foto.jpg\" alt=\"Emin-foto.jpg\" align=\"left\" width=\"670\" height=\"480\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2012\/11\/Emin-foto.jpg 670w, https:\/\/a-desk.org\/wp-content\/uploads\/2012\/11\/Emin-foto-558x400.jpg 558w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/>The work of Tracey Emin (1963) can be read as an autobiography constructed out of materials and imaginary fragments that are charged with feelings, emotional hyperactivity and a variable dose of psychopathology, unfurled amidst the heydays of British art in the nineties, and by extension, all contemporary art as an industry. Passed through the filter of this industry, the defiant mixture, of private life, recalcitrant sexuality and anxiety attacks results in a collection of living documents \u2014 videos, installations, watercolours, neon sculptures, texts\u2026\u2014 that simultaneously imbibe the intimate and the spectacular: in the self-construction of a public figure and the aftermath of domestic upsets, with arrogance and vulnerability.<\/p>\n<p><em>Tracey Emin. How It Feels<\/em> \u2014a selection of five of her videos\u2014 and<em>Proximidad del amor<\/em> \u2014an anthology of her columns in <em>The Independent<\/em>, published in collaboration with Editorial Mansalva\u2014 are the tools which MALBA places at the disposal of the Buenos Aires public, a not insignificant vein of Emin\u2019s work that articulates two different series of transpositions: that of her life in the work\u2014traceable in the videos\u2014 and that of the artist as celebrity, that appears in the columns, written in a frank and direct style, for a reader of newspapers\u2014more specifically showbiz news, or even gossip.<\/p>\n<p>If the videos \u2014selected by the curator, Philip Larratt-Smith\u2014 trace their cycle from the middle of the nineties to 2000, the columns are, on average, written ten years later. So what is put into perspective are not just the changes in Emin\u2019s career but also the form in which they were supportive of the restructuring of the art industry into a subsystem of the global spectacle.  <\/p>\n<p>To the same extent that the videos like <em>Why I Never Became a Dancer<\/em> (1995) and <em>How It Feels<\/em> (1996) stage a strong desire for the self-construction of a character, it is clear that Tracey Emin reinvested her repertoire of artistic attitudes in the media system, and\u2014after having appeared drunk a couple of times on camera and stumbling on the red carpet\u2014 it didn\u00b4t take long to provide her with national fame, as the emotional and sincere female figurehead of the British art system of the moment\u2014a sincerity that encompasses the relation not so much with the word itself, as above all with a public avid for the confessions of the famous.<\/p>\n<p>In the columns for <em>The Independent<\/em> \u2014selected and translated by Cecilia Pav\u00f3n from the original anthology, My Life in a Column, published by Rizzoli last year \u2014the display of sincerity constructs a pact of reading that is subordinated to the celebrity system: personal conflicts, drugs, divorces\u2014 that accompany a form of moral reflection about what it means to have a public life, the point of departure for which was a work constructed in its time around the exhibition of her private life. Celebrities such as Paris Hilton or Kim Kardashian daily convert their life into a product with which the audience can identify: their clothes, the handling of their boyfriends and their favourite dishes are a sort of constantly updated moral practice: they mark a course by which their fans can orientate their own lives. What, for authors like Isabelle Graw and others, is the point of departure for the culture of celebrity, the fact of converting one\u2019s own life into a brand, implicitly carries the possibility of converting this brand into an exemplary tale: the public light of celebrities illuminating private lives with subjects as varied as clothing, struggles with addictions or being overweight. In the case of Tracey Emin, her handling of solitude, sex and drugs configures a mediated process for autobiography on an aesthetic and humorous basis: the permanent hybridisation of the private and the public turn into an element of defiance, as if one of the attributes of the confessional discourse was the power to uncover someone else\u2019s vulnerabilities. <\/p>\n<p>As Fernanda Laguna observes in one of the entries in the exhibition catalogue, the works with a self-referential bias implicitly carry a collective ritual, to the extent that they make it possible to be \u201crearmed\u201d by other people, that is to say by the audience. In the work of Tracey Emin, as in the celebrity system, this collective aspect is transferred to the masses. Reliving their everyday hardships and joys implies incorporating a lesson in life: a life that is, perhaps, too similar to a product.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>The work of Tracey Emin (1963) can be read as an autobiography constructed out of materials and imaginary fragments that are charged with feelings, emotional hyperactivity and a variable dose&#8230;<\/p>\n","protected":false},"author":1258,"featured_media":6947,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6783],"tags":[],"coauthors":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Fabrication and sincerity. 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