James Deutsher
----------
WEBSITES
Y3K GALERY
Y3K and WHAT ARCHIVE?
EVERGREEN TERRACE
JAH JAH SPHINX
----------
----------
SHOWS
'Too Much of Everything' Y3K GALLERY 2009
'Everythin Wannabe' UPLANDS Gallery 2009
'Y2K Bienalle' T.C.B 2008
'You Can't Steal a Gift' Christopher L G Hill + more, Gambia Castle 2008
'Harvest Moon' CLUBSproject 2005
----------
----------
M:+61 401 12 12 12
E: jamesdeutsher@hotmail.com
SKYPE ID: jamesdeutsher
----------
----------
c/o WORLD FOOD
Level 4 Mitchel House
358 Lonsdale St.
Melbourne 3000
AUSTRALIA
----------
Chanel No.5 (chanel No.5 bottle, urine) James Deutsher 2009
shown at Hao Guo's IT IS HAPPENING
Gaston move to an undercling. This is the crux. Then the waterfall. Then up and out.
At the age of 14 Chris Omprakash Sharma was already a freak. He was the first to complete a climb rated 5.14c. When a climber completes the first accent he has the right to name (or title) the climb. Sharma has an impressive list of first accents – Realization, Witness the Fitness, Necessary Evil, The Mandala, Dreamcatcher, Es Pontas, Papichulo, Demencia Senil, et al. All of these accents are rated 5.15b to 5.14c, or 8B+ and V14. Most are classified unrepeated, meaning that after the initial attempts (50 in the case of Es Pontas) Sharma has not attempted that accent again – once proves. This approach differs considerably from other professional athletes who appear to spend considerable time and energy continuously repeating the same feat or goal. Sharma prefers bouldering. This is a recent variation on climbing where the climber wears no rope or harness. Instead preferring to climb free on shorter and more dynamic routes. The voice of climbing – the publishers, writers, business – is still dominated by traditional climbers. Bouldering is considered by the time-honored as the death of the climber, the end of history. But it is the once proves culture that appeals to me, that we can move on after the once proves, never needing to re-enquire or repeat. By the flappy skin of your fingers and your aching ligaments, you can move forward, make advances, try new things, without needing to repeat yourself, over and over and over and over and over and over again.
Jarrod Rawlins
coke bottle with listering (Hao Guo) Chivas 25yo with Green Tea (James Deutsher)
Shiro Kuramata Wanabee One James Deutsher
Cosmic Wannabe: three James Deutsher & Christopher L G Hill 2009
cosmic wanabee two James Deutsher
political map and geographic map of the world 
JAMES DEUTSHER, CHRISTOPHER L G HILL, CHRIS KRAUS AND LIV BARRETT, CCP, Melbourne
'to Jota and ACW' motor oil, plastic world globe, perspex plinth, UPLANDS at Joint Hassles 2008
UN Flag Kit 2008
Sub-Devide and Concrete James Deutsher and Christopher L G Hill (with video work from A Constructed World, Dan
du Bern, Hao Guo, Bianca Hester, Kain Picken and Rob McKenzie, Bianca Hester) Joint Hassles 2007
EVERYTHIN WANNABE
Shiro Kuramata Wannabe
I'v been thinking about this light more and coming to good terms with it as a kind of magnetic object, in the way it is picking up other elements (like objects and ideas, like the clay frogs or an idea of what the real kuramata light meant both in design and cultural terms) and through those parts, forming something new. Form-wise, they are totally deformed and devoid of pattern or repetition (compared to the formal flow of the real K-Series lights), except for the four supporting triangles in each corner, but even then, one snapped of, almost against this echo of form. There is something visually of Y3K in them, something like the ‘The end of the world and the chilly, callous fairy dreamscape’ Hu Fang describes, something whale-esque, or some ESP. The way a whale is a strange creature, an ocean dwelling mammal, hugs up against the two Chinese tea ceremony frogs, the strange amphibious creature. They both share some space between evolutions and de-evolution in the mystic history of time and the earth. Dolphins used to be land dwellers before choosing to move back into the ocean. The three legged, fully developed frog is like a regression into tadpole from a mature form, like the creature is reversing back its evolutions, like we need to reverse engineer our own evolutions, like this light stands for a reversal back from a global, understood culture and starts from the start again baring all of this other stuff. The fruit stickers are from the market, from Gabriel Kuri, Christopher L.G. Hill, from fruit and from everywhere. From eating, staying alive and buying produce. From buying shit fruit and good fruit and under-ripe avocadoes and mixing it with tinned pineapple, from those things coming and going but the stickers staying and looking good on these acrylic surfaces. This stands up against modern design, the neglecting or denial of human processes like eating, washing or shitting, the reality of everyday human existence. I like the produce/production term, and leaving what is left after these processes of deteriation have occurred. The fruit stickers act as more-often-than-not the differentiating factor in the fruit. Anywhere a lemon looks like a lemon, but a lemon with a sticker of a cartoon Native American on it is a point of difference from a generic view of produce. Produce is design and instantly recognizable. I want culture and the myth and the everyday to be in a state of togetherness and unified challenge to one another, to hug and make-up and make-out and move forward to something, or everything new. The ‘personal’ fitting into what is historically an industrial process of de-personalized manufacture. This light forms a sort of architecture for itself, mimicking in a dumb way the sculptural landscapes of FOA’a Yokohama Port Terminal or Kuramata’s things.
Hu Fang
‘Creation is a journey back to one's true innermost emotions.
It is only with this foundation that we can have the possibility to talk about a work's social functions and effect on others.
From here, we can now truly understand why Deleuze once said, "Books are not for repeated reading, but should be used to do other things."
If we use this line in a work, perhaps articulating it in this manner will not violate the spirit behind the philosopher's idea:
"Works are not meant for repeated viewing, but should be used to do other things."
Cao Fei's works are very lovely to look at, but they are not merely meant for looking.
Take for instance, RMB City, which is a work to revolve around the viewer, far beyond works that are only meant for looking, Rather, it encourages and invites people to participate and interact with it, and through this propose questions about the construction of systems that will broaden the horizon towards greater developments in new directions. As Cao Fei said, "I feel that contemporary art should be more open and inclusive. Because we don't have a term to describe our own work, for the moment, we are temporarily using the term 'contemporary art'. But perhaps there could be other names, or even ones which are more free in nature."
I would like to name it: that which embodies motion, freedom, the spaces between systems.’
I recently read a Justin Beal interview, he was talking of Martin Kippenberger’s exhibition ‘The Happy End of Franz Kafka’s “Amerika”’ and the hundreds of chairs and tables arranged through the show on mod-grass, ‘Kippenbergerger’s furniture crosses effortlessly between the architectural and the sculptural, through the literal and the theoretical, and carries with it not only the history of each object, but the potential for a new interaction within it.’
Everythin Wannabe, space for life, the relationship between the cosmic and the everyday, the force of collective consciousness on personal practice, making good form, destroying good form, documenting personal health practice, togetherness and separateness, being honest and hot hiding things, subjective perspectives on the world, the weight of information, geographic and economic power struggles, making things look good and art and life.
Hardboiled Wannabe
Maybe life globally has become too political and we need a way to feel what it’s like to be part of life without that, simplicity in hardboiled eggs and cantaloupe and too many chairs to fit around the table.
New Culture Wannabe
Erasure of the cheap version of cultural heavy-weights incorporated into an everyday setting. By painting over the blue in the blue-white Chinese pot it creates something new for it to be. Re-design.
LINKS
PATTERNS OF CREATIVE AGGRESSION
