new-york

Bernadette Corporation

Greene Naftali Gallery

In the context of art, Bernadette Corporation is revered for the same reason it is intermittently invisible: “its willingness to go there, to disrespect,” as the oft-morphing collective wrote of a Manhattan-destroying tornado in its 2005 novel, Reena Spaulings, a two-hundred-page celebration of the thrills of instability. Experimental ruses such as a fashion label, a film production company, the novel, and other joint enterprises have functioned as portals, temporary propositions of how to produce and yet defy corporate co-optation and its attendant repurposing of the youthful or radical gesture. If the tentacles of capital inexorably subsume creativity whose marketability resides in image—in an “economy of essences,” to quote Reena Spaulings again—the BC brand intentionally signifies nothing in particular. Capitalism (including art) likes predictable and linear progression; BC’s is a

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