Serpentine Gallery extension: limousines are good causes

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title="Serpentine" src="http://www.thejackdaw.co.uk/wp-content/uploads/2013/11/Serpentine.jpg" alt="" width="800" height="218" srcset="http://www.thejackdaw.co.uk/wp-content/uploads/2013/11/Serpentine.jpg 800w, http://www.thejackdaw.co.uk/wp-content/uploads/2013/11/Serpentine-300x81.jpg 300w, http://www.thejackdaw.co.uk/wp-content/uploads/2013/11/Serpentine-201x55.jpg 201w" sizes="(max-width: 800px) 100vw, 800px"

​ />What is the difference between a line of black limousines at a Mob funeral in Brooklyn and an identical cavalcade at the

opening party of the new Serpentine Gallery annexe in Hyde Park? Well, not as much as you’d think. Although Cosa Nostra are undoubtedly the subtler of the two coteries represented, both have a common interest in protection rackets. In the case

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of the Serpentine this means inflating the reputation and value of the deluxe
‘branded’ art which will be shown there and will have

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originated, or will end up, in the collections of the limousines’
TEL:I53-4325-4I43
occupants.

Unaware that a

shindig was in progress I cycled past the Serpentine while the limos were google_ad_slot = "8637400688"; chrome-to-chrome outside.

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At first this didn’t register as unusual: another evening, another hoolie for the vain and
vulgar at the Serpentine… One

formed
an indelible symbol for everything google_ad_client = "ca-pub-3967079123942817"; that stinks about State Art. What is passed off as ‘public

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interest’ and ‘the public appetite for contemporary art’ (the
latter is the often repeated favourite lie of President-For-Life Serota himself) is src="//pagead2.googlesyndication.com/pagead/show_ads.js"> yet another means by which the wealthy protect their interests. The public has no google_ad_slot = "7160667483"; say in what is shown in the Serpentine despite the fact we have always paid /* xin-1 */ for it. And if we don’t like it we can eat cake.

Here is a publicly funded art

a toss about, //--> which
is hawked by the world’s wealthiest and most powerful shopkeepers, has its value maintained

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by salerooms who rig prices during google_ad_client = "ca-pub-3967079123942817"; glamorous soirées, is traded in by billionaire collectors who purport

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to like it but treat it merely as a secure commodity of exchange, and
is endorsed using a new language written by //--> “international curators” no literate outsider can fathom. You couldn’t invent a more perfectly rounded system

of them will be its main
beneficiaries. Running costs and an exhibition programme
have been underwritten

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with a

many of them) in the appreciation of their investment portfolios. This revolting system is defended by the all-purpose State Art lie that the likes of the
Serpentine google_ad_height = 90; “provide a public service”. Up to a point,
but the real winners are behind all that dark glass.

The Serpentine is run by a pair perfectly suited to their task: one is a dim socialite who does as

she’s told,

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while
the
other is a Swiss “international curator” who speaks six languages and has neither penned nor spoken a clear sentence in any one of them.

So who pays for the Serpentine? You do. Who is it

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for? Definitely /* 9-970x90 */ not you. What is its purpose? Mind your own business.

David Lee

The Jackdaw, November 2013