What caught my attention were two things: the title of the installment: "The New Sincerity", and the phrase describing the work: "intersection between utopia and an accident or improvised event".
And here is where my mind went: the title makes sense because while sincerity is timeless, it must be forged anew given the ever-changing customs and now technologies mediating it. My second idea was about how the tension in the juxtaposition between utopia and accident/improvisation is almost like a riddle.
It reminded me of my favourite passage by H. Randall about Plato's utopia (in "Plato's Treatment of the Good Life and His Criticism of the Spartican Ideal"), where he explains how utopia is to be understood: as a general direction, not a final destination:
There is the constant temptation to live in the vision, rather than by the vision: to want to go to Heaven, like the Christians, or to bring Heaven here to America like the moderns, instead of living well a human life with vision. There is the temptation to demand perfection, and to condemn all existence because it falls short of what it might be, as it naturally must, instead of using the vision of perfection to discriminate between what is better and what is worse in our relatively and inevitably imperfect world... This, it may be, is the truth that lies behind Plato's ironical warning that the effect of poets is often bad: because men are apt to be too stupid to realise that they are poets, and to take them literally, instead of seriously.
The artist, Belén Rodriguez Gonzales, from the video summing up her work, seems to demonstrate, through things, this problem between projected grids and a geographical, cosmological freeplay of motion: winds, the effects of the sea, the shining of the sun... Despite the grids (or, the "literal"), there is a lot of apparent "potential for vision" for one who is looking. The challenge of life is to learn how to make something of the "natural musts" without losing poetic vision.
I am glossing over some criticism here, such as the artist's lapses into hackneyed conceptual mumbo-jumbo, which can be seen in some of what's quoted here, and that "seen it before" impression as so much post-formalist art looks like more of the same. But I liked her playfulness, and general selection of ideas, and the broader implication that art - and an almost East Asian approach to art by which I mean an imitation of nature as the highest form of respect - is to now imitate the little accidents in the nature of the planned or unplanned world around us.
That's one holiday for the mind: chance can afford a scrap that can be turned into good fortune, by one who is looking.
Brush: Misprinted Type.