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DRIVE

JOSHUA BIENKO
PIPER BRETT
LAYET JOHNSON
2015

I’ve been playing pick up basketball my whole life. Sometimes you know the folks you’re playing with, sometimes you don’t. If you play a few games with the same folks, you start to get a feel for them. I love playing. You go to the court with your game. Sometimes your game changes while you play. Sometimes it doesn’t. Sometimes, you play for a while and you stink and you don’t really have a presence, but maybe the person guarding you gets a little too up in your grill, and you score a bunch of points and all of the sudden, you have a lot of presence.

This show isn’t about basketball. I don’t think any of our work is actually, didactically about basketball at all. In fact, when we have an opportunity to talk or write, we usually talk awkwardly about art… then we talk about basketball, OKC, GSW, Bronbron etc. and we have flow… then maybe we swing back around and talk about art. The flow is usually better then, but our reason for talking wasn’t basketball. That’s how basketball functions.

The three of us (Joshua Bienko, Piper Brett, and Layet Johnson) have had some artistic interaction, but we have not shown together exclusively. There is a general sense of respect, astonishment and excitement for each other AND for each other’s work. We each have a kind of game artistically. That is not to say that art making is a game. Game is a way of playing, a way of thinking, and a way of working. When you play pick-up basketball, you play your game, and you recognize other folk’s game. Sometimes you adjust your game, sometimes you don’t.

Game resists methodology, and, as Chus Martinez writes in How a Tadpole Becomes a Frog, game disowns knowledge. That is not to be purposefully ignorant or close-minded. It is to radically, refuse categorization and method. It’s to let the game come to you. It is to find haven in the ‘maybe.’

“The ‘maybe’ also implies that method is not a method yet but can become one. Imagine a movement, a force, traversing the whole project, its materials. It is probable that only at the end will you see some sort of method at work. Something that only a posteriori one could call a method... The main trait of fiction and imagination is their potential failure. They do not serve as solid ground for a speech act; they are an interference in the logic of an intentional assertion of meaning.”

DRIVE: The Story of my Life, is an exercise in this dialectic. The show aims to resist the a priori “logic of an intentional assertion of meaning.” I can’t tell you how I made the crazy shot, but that doesn’t mean it was an accident.

Lacanian Drive is a concept whereby one circles around and around an object of desire, without ever going right at it. This persistent circling can be more pleasurable than object of desire itself. A Drive in basketball is to go straight at the goal. The work that makes up DRIVE is involved in provoking (interpretation), while resisting (resolution).

DRIVE: The Story of My Life Is the name of Larry Bird’s autobiography, first published in 1989.

We are grateful to SOIL Gallery for giving us this opportunity to play together.

 
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PIPER BRETT
 
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PIPER BRETT
 
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PIPER BRETT / LAYET JOHNSON
 
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LAYET JOHNSON / JOSHUA BIENKO
 
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JOSHUA BIENKO (1,2,3) / LAYET JOHNSON
 
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JOSHUA BIENKO
 
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JOSHUA BIENKO
 
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JOSHUA BIENKO
 
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JOSHUA BIENKO (1,2) / LAYET JOHNSON
 
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JOSHUA BIENKO / LAYET JOHNSON
 
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JOSHUA BIENKO
 
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INSTALL
 
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JOSHUA BIENKO
 
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JOSHUA BIENKO "BUSTED" video loop
 
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JOSHUA BIENKO
 
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JOSHUA BIENKO