The Art of Malaka Malaka (Rise Above 'Em) [Verse 1] Jealous cowards try to control! Mean-spirited cloth – cut from the same! Old comments rotting – fourteen years old! Doubling down – you got no shame! [Chorus] Malaka! Malaka! Special Greek word – for scum like you! Malaka! Malaka! Rise above! We're gonna rise above! Vile views – spreading hate and fear! Malaka! Malaka! We ain't taking it – no more! [Verse 2] Who’s next on the list? Indians? Greeks? Vietnamese? Women? Whose next to be cut? Major parties silent – lips sealed tight! Cowards in suits – hiding from the fight! [Chorus] Malaka! Malaka! Pauline and Cory – same rotten core! Malaka! Malaka! Ashamed? You should be ashamed! Hate, division, fear in the air! Malaka! Malaka! We’re calling it out – everywhere! [Bridge] Minorities marginalized – feeling the pain! Unheard, unrepresented – driven insane! This ain’t left or right – it’s decency! Common fucking decency! I’m angry – really bloody angry! How do you get away w...
Get link
Facebook
X
Pinterest
Email
Other Apps
The Art of the Damned
Get link
Facebook
X
Pinterest
Email
Other Apps
-
The Art of the Damned
The current gallery system functions as a modern dam built right at the headwaters of artistic creation.
The headwaters are the raw, bubbling springs high in the mountains—wild, uncontainable, fed by countless small tributaries of individual vision, experimentation, failure, intuition, and obsession. This is where most serious art actually begins: in studios, bedrooms, sketchbooks, late-night arguments, personal crises, and private obsessions, long before any curator or collector ever hears a name.
Once a handful of major galleries, institutions, auction houses, and their allied gatekeepers (collectors, critics, fair directors, residency programs) gain decisive influence over those headwaters—deciding which artists get early solo shows, which receive press, which enter the "right" conversations, which are anointed with blue-chip representation—they effectively place the dam.
From that point forward:
The flow of visibility, legitimacy, money, and audience is regulated.
Only certain streams are allowed through the spillways (the "approved" aesthetics, narratives, identities, scales, materials, politics, or career trajectories).
Everything else backs up behind the concrete: talented work starves for oxygen downstream, or is forced into flash floods of social media desperation, alternative spaces, or outright obscurity.
The reservoir above the dam becomes a carefully managed lake—still, stratified, expensive to access, stocked with fish that serve the dam owners' interests. The water (attention, cultural capital, sales) is released in controlled, predictable releases: biennials, fair booths, museum acquisitions, and magazine covers.
Downstream communities—viewers, smaller cities, regional scenes, emerging collectors, the broader public—receive only what has already been filtered, de-risked, and priced. The wild, nutrient-rich silt of unmediated experimentation rarely reaches them anymore.
Remove the dam (or, more realistically, build meaningful bypass channels, fish ladders, seasonal floods of support for independent flows), and the river returns to something closer to its original character: braided, messy, surprising, capable of nourishing many more banks. But as long as the primary infrastructure sits at the source and not further down, the people who control the headworks control the entire valley's fate—no matter how much talk there is of "decentralisation" or "new ecosystems."
Whoever holds the narrowest, highest choke point in the system holds disproportionate power over everything that follows.
This artwork is protected by U.S. and International copyright laws. Distribution and/or modification of the artwork without the written permission of the sponsor is prohibited.
The Art of Malaka Malaka (Rise Above 'Em) [Verse 1] Jealous cowards try to control! Mean-spirited cloth – cut from the same! Old comments rotting – fourteen years old! Doubling down – you got no shame! [Chorus] Malaka! Malaka! Special Greek word – for scum like you! Malaka! Malaka! Rise above! We're gonna rise above! Vile views – spreading hate and fear! Malaka! Malaka! We ain't taking it – no more! [Verse 2] Who’s next on the list? Indians? Greeks? Vietnamese? Women? Whose next to be cut? Major parties silent – lips sealed tight! Cowards in suits – hiding from the fight! [Chorus] Malaka! Malaka! Pauline and Cory – same rotten core! Malaka! Malaka! Ashamed? You should be ashamed! Hate, division, fear in the air! Malaka! Malaka! We’re calling it out – everywhere! [Bridge] Minorities marginalized – feeling the pain! Unheard, unrepresented – driven insane! This ain’t left or right – it’s decency! Common fucking decency! I’m angry – really bloody angry! How do you get away w...
The Struggle for Authenticity in Art I want to speak today about authenticity . And about what we quietly give up to be accepted. We’re told that contemporary political art values autonomy . That artists are free. That inquiry sits at the centre of practice. But autonomy, in reality, is often something we *perform*— not something we’re allowed to exercise. Freedom is celebrated rhetorically, while legitimacy is granted only when work conforms to approved languages , approved theories , approved causes . Autonomy isn’t denied outright. It’s curated. This system doesn’t fail artists by accident. It functions mechanically. It rewards work that aligns with predetermined frameworks and filters out work that doesn’t speak the sanctioned dialect . Many voices are excluded not because they lack skill or meaning, but because they refuse to translate their experience into institutionally legible language. I’m not saying all excluded work is good. I am saying much of it is never heard. An...
Creation doesn’t save. Art stabilises. That’s why art continues after belief has died. Not because it promises something— But because consciousness cannot stop itself. The will to create isn’t heroic. It’s involuntary. A reflex. The art of futility A spoken monologue I don’t make art because it matters. I make it because consciousness produces excess. And excess demands release. That’s the first lie we’re taught—that art points toward truth. Truth doesn’t need us. It existed before our gestures and will remain after our silence. Art isn’t revelation. It’s a regulation. An overdeveloped mind can’t remain idle. Thought accumulates. Pressure builds. Expression becomes a discharge—not a message. This isn’t noble. It’s biological. Paintings. Texts. Sounds. Images. All variations of the same maneuver. Not transcendence . Containment . Once you see this, ambition collapses. Influence. Legacy . Relevance. These are metaphysical debts art can no longer pay. The work is finished the mome...
Comments
Post a Comment