The reception began at 8:30p.m. in department #203 ( Kill Floor ). The guests enjoyed an array of Hors d'oeuvres and liquid refreshments, and then listened to an impassioned speech by Steven Lee Matz on the correlation between the pieces they were about to view and the nature and functionality of the self in a mass consumer society.
From there the guests were led into department #204 ( Kill Floor ), which functioned this evening as the gallery and main center for the event.
The gallery smelled of stale blood and sweat, this scent was carried upward to one's nostrils floating aloft an uneasy latex undertone.
The music provided was played on two turntables on a stage decorated with glistening strips of red meat and three heads of cattle. The figure of Seven Vegas lurched over the vinyl on the turntables as a murderer over his victims. His eyes could just barely be seen beneath the Guy Fawkes mask he had on. Dancing about maniacally while making split second calculations of the turntable visually and then carrying them out with rapid precision Vegas mesmerized the guests with flashing lights,
pulsating rhythms, and images of art, cuts of meat and live stock.
The theme of Organic Sculpture was definitely the main thesis of the exhibit. Viewers lined up in front of Still life 33 by Steven Lee Matz ( Figures 1 & 2 ), a piece comprised of 75 sides of beef. As well as Clientele and 3 sides of beef 3 times by Seven Vegas ( Figure 3 ).
As the evening progressed most of the pieces were devoured by the onlookers, many of whom had spent the majority of the evening salivating like ravenous wolves and sipping white wine. Suddenly the lights flickered off and many of the guests ran off into the bitter cold which accompanied the night, some never to be seen again.
A great specter is looming over the art world: the specter of Inter|Sekt. For far too long we have watched the artists of our generation turned into a disposable commodity, bought and sold by the galleries, stifled in their expression by the tastes of the art consultants who purchase pieces on behalf of financially minded clients who want a "solid investment".
They have been amalgamated into schools, said schools are a device of gallerists and art historians to divide and conquer the creatives and free thinkers.
For we live in a nation which thinks itself to be free yet is not, they expect the same of their artists.
Our culture has been raped and plundered by the upper echelon, picked apart and sold by the same greed mongers who claim to be it's patrons. The tool which has most effectively stunted the growth of modern American art in particular is the clever indoctrination of this idea of schools to not only the art student but anyone whom even reads a brief survey of the history of art sees that it is broken up into these categorized schools; the philosophies of these various sects creates conflict, division, and ultimately destruction of the morale and submission to the established order. Thus rendering the creative spirit confused and useless.
This helps curb the rebellious spirit of the average citizen outside of the art world in other spheres of society.
Art history is a lie and galleries are dens of thieves!
Inter|Sekt is not destroying the schools or the galleries, we are simply showing you they were never real, at least not in a world outside of that constructed by academics to sell text books to art students.
The reign of the gallerists and art consultants is over when you want it to be.
From the ashes of the indoctrinated schools of every form of art shall arise The New World Creative.
-Steven Lee Matz-
The inter|sekt manifesto
Gus Romero IV