ʻGizza job, I can do that’

ʻGizza job, I can do that’ – Employing art for semiotic work with its publics –

A concrete poem by Jheni Arboine

‘Gizza job, I can do that, gizza job I can do that’, said Art dressed up as the ventriloquist’s doll. Its utterances permeated the space; a space of criticality, a place for crispy-criticality of jumping kangaroos, of hybridities and secret paintings.

‘So what work does the artwork do? How is it employed? What roles does art have? What is the purpose of art?’

A catechism of ritualized voicings, pervade the space, again and again. The reverberations echo, a sonic umbra then penumbra appear. There is a sort of silence, a gap, a space, a hesitation, a teetering…and again like the Greek chorus the cabal repeat…

‘So what work does the artwork do? How is it employed? What roles does art have? What is the purpose of art?’ A catechism of ritualized voicings, pervade the space, again and again. Then in the quiet there is that feigned voice;

‘Lisson to me, Lisson to me’, says Art attired as the ventriloquist’s doll. ‘Essay me, essay me, I am here. I can tell you what I can do’ Art frantic not to face annihilation, tropes Yosser Hughes agony and desperation for work, any work.

Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language
Nobody spoke to the Sea Ghosts sitting on their chairs [whisper]
language, Behold art and language, Behold art and language, Behold art and language, Behold art and language Behold art and language, Behold art and language, Behold art and language, Behold art and
Nobody spoke to the Sea Ghosts sitting on their chairs [whisper]
Language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold
Nobody spoke to the Sea Ghosts sitting on their chairs [whisper]
art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language
Nobody spoke to the Sea Ghosts sitting on their chairs [whisper]
language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold
Nobody spoke to the Sea Ghosts sitting on their chairs [whisper]
art and language, Behold art and language, Behold art and language, Behold art and language Behold art and language, Behold art and language, Behold art and language, Behold art and language
Nobody spoke to the Sea Ghosts sitting on their chairs [whisper]
Language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold
Nobody spoke to the Sea Ghosts sitting on their chairs [whisper]
art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, Behold art and language, behold art and language

Art can be critical; it can be critical and cool it. It can be critical, cool and crispy. It can divest itself of modernist trappings, legacies and cavort across boundaries and create liminal places and territories of practice. Art can be anything, an index, a loop or a jumping kangaroo.
Art can do more, much more, it can be exponential and it can be semiotic. It can be a sign and decipher signs. It can peel open the context and see what’s inside. It can excavate the palimpsest of objecthood with a triadic tool of Symbol, Icon and Index.

The publics outside the cabal’s kitchen hear the glad tiding that Art has a new job a semiotic task to sharpen its criticality in all its contexts. To be critical of its criticality and more kangaroos are jumping, loops are looping. Nobody spoke to the Sea Ghosts sitting on their chairs, who had also been listening with the other publics to the semiotic Peircean panacea.

700 words

Jheni Arboine December 2014
MA Fine Art Student, Chelsea College of the Arts