Rose O'Gallivan - River Flow Romantic Erudite Desert: Visibility And Accessibility

Rose O’Gallivan

River Flow Romantic Erudite Desert: Visibility And Accessibility (2016)

A rippled scan of a white page with black text in a solid black. Text reads: 'RIVER FLOW ROMANTIC ERUDITE DESERT : VISIBILITY AND ACCESSIBILITY He writes ‘He forged an abstract language from the disparate material he amassed’ we're glad he did write, and amass. J Snow or J Doe put a non co-operative collective arm on my shoulder, because of their nature and my sort of entitled meekness and the centuries of our humility, and their abstractions fought, on principles of acquisition and family tradition in my face, we froze in that position. It's 1824 or at least it's in the style of 1824, this is so it delivers an irony, mostly due to an uncanny similarity to 1998 and that, is painful. Her cantankerous attitude is frozen so it can be used a little later after she’s got achievements, when she is 38 - it is used, a no-one agrees. We meet every month And He said ‘They've lost the purpose that was prerequisite to them occupying the space with art made with the means of hard won production values, the loss was not noticed because the works had the humour to handle a 21st century obsession with denying the need to mean what you feel over needing what you mean when outside of the main atrium reserved for those that have an innate ability to ignore each intrinsic Christian value coughed up by those already outside this main and grand atrium' we looked on blinking, and thinking, and we say, finally, ‘a Europe-wide chain of debasement' and 'ha, how do we learn to hate defining ourselves by our losses ourselves by our losses to prevent an identity forged by negation?' he said 'you guys always manage tospeak in unison, timing must be a laborious bugger, eh?' Agnes said Stefan.S colleacts female artists exclusively. He being what he is, and you being what you are, it’s easier to visualize the incentive to be mentally ambitious and pave the way for the publicly funded professional detachment on the occasion of the first retrospective of 'the peoples art', and like me, he never finished anything although she didn’t say that. We went back to the reserved room and in the company of the communitarian, helped to forget about the baby, and remember that by breathing deeply into her stomach it’s easier to focus on the color and form of the ‘peoples art' that, providing she waits long enough, offers the solace to make up for the questions about her career. The acetic aesthetic generic of the middle aged woman matched the choked up responses to cubism and abstract expression. She said ‘I was friends with Barry Newman' and ‘I made a construction with the heads of three thousand nails that I fixed onto boards, the first one I called garden’. Giving us another legendary example of the pro-frontal cortex pre-applying pro-conditioted experience to the smart but gender constructed entanglement of male action and dope perception. Her look is harder and weary of accusatory nonsequitary ¬noodling, like privileges taken as if these are only given when hinged off cheap pre-modern masculinity slack for long enough that eventually there's an unmediated sense that emotional blackmail is pretty. Something that says that if 0.5% of the population was to read out what this sounds like with the same intention as what it’s written like to those with the ears of the 2nd 0.5% in time and line with the world bank protocol for national debts, universal interest and shirked globale morale, and with the pining, then it will feel like an eighty’s re-take of a fifties take on our pity. For us anyway. The retrospective is positioned in time with the annual pause of the republican principle of self responsibility. When an animal turns its face and eyes towards the new thing. A new thing typically appears every three days. Back to Agnes, the production of ‘on a clear day’ precipitated M's return, we love the work and the return.'

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