After returning from years of war coverage, Peter van Agtmael tries to piece together the memory, identity, race, class, and family, in a landscape which has become as surreal as the war he left behind.
Mother’s Tankstation Limited is a building in which art happens (a primary process, exploring visual, sensory, intuitive, discursive means). Made and exhibited by artists, but made possible by the gallery (as people; collective endeavor, vision, intent, engagement, research, commitment, time…). The principal objectives of which are to explore intellectual negotiations of our little lives, the paths and functions of our world and to positively contribute to the greater discourse of its societies (“the accommodating maw”). Much of what you see, will see, or hear (very little touching please), is not for sale or even possible to sell, but there are many ways of collecting, acquiring, knowing (feeling, sensing, inhabiting), art – such a big word. Product, commerce (or fashionability even) are not principal objectives, as art, at its best is thought (intangible, ephemeral) made evident (concrete, ever-lasting). Ideas are both precious and free. Art’s objects can be expensive, as collectables they are rare, fragile and often complicated (big sometimes), but experiencing them in reality is priceless. Art fairs are necessary facts of ‘our’ (both yours and ours) present world of art, but as de Certeau suggests, a fact is not necessarily a truth. The body of work, as best manifested in the ‘gallery / museum shows’, remains the purest truth of both an artist’s intent and a gallery’s purpose.