Amanda Beech

Diann Bauer

The Lethal Believer

0918_Tegel_Layout_final-proof.jpg

The democratisation of flight.

Our mobility. Our apparent

access to the luxury-sensation

of global dynamism. The lure

of nostalgic conceptions of jet

set glamour evolved into the

budget-airline, no-drink, no-peanut

experience. We step

away from the terminal. We

put down the coffee, click the

mouse, book another flight.

Confusing mobility with

democracy.

We step into the terminal.

Our movement is smooth.

We glide. We pass artworks

made-to-size, made to fit

unnoticeable walls that frame

the limp ambitions of airport

café-society. This is the commission.

This is a video work. Fictions, dialogues, mythologies.Laying bare the internal voice working on the

commission.

The internal dissent. It speaks

the rhetoric of art understanding

itself to be the alpha

object. Understanding itself

to have weight, importance,

relevance. It’s about Faith.

The Lethal Believer.

Luminous. Sometimes stupid.

Sometimes cruel.

The more visible, the more

visible.

Life in endless corridors. Filling in the paper work on time.

We are no longer able to stand

outside. Outside, that place

that used to belong to us.

The experiences of force

and pleasure. Their proximity

seduces us.

Question the production of

this spectacular democracy.

See it underscore Empire. See

it delete an outside.

Challenge this open and yet

finite space of the air.

Order and chaos finessed in

a new complex; sovereignty

annihilated.