Narrative has become liquefied in a highly flexible Monstrous Babylon. The role of art in the age of confusion is unstable. Art is in an identity crisis, with its status as the bastion of social change and commentary now subverted. Centres of power are engaged in complex, shape-shifting processes which devalue the causes of pedagogic work. Politics and art are imitating each other. When centres of power are utilizing pseudo-realities in high definition, art subjugates an edgeland between the artistic and social fields and begins to analyse the means of its creation, production and reception. When this is eclipsed by self-glorification and promotion however, it is rendered irrelevant.
Aidan Razzall works mainly in film, print and digital media, attempting to pinpoint the reasons behind the liquidation of narrative. His biggest challenge is escaping the digital and reaching the real. His current works focus on the tautological relationships between the aesthetics of ‘political furniture’ and their intended purpose, and how this tension is experienced within the gallery. His biggest fear is that after the ultimate apocalypse, when even cockroaches are extinct, pop-up internet advertising will still exist.