Agave Expressionism is about attending to moments of cultural rupture.
It is a contingent space; there is not a sound, no material. It is a liminality — perhaps an
impossibility.
Agave Expressionism is about takin’ it easy. Formal rigor and formal relaxation.
Content and content.
Agave Expressionism is not stupid, though it dares to embrace the dumb.
Banal but not tedious. It is not that High and Low are pre-existing conditions of culture but that such
delineations are mediators of culture. High and Low exist even where they are marginalized, and where
they are problematic.
The incorporation of this attention into composition is Neo-Pastiche, a technique by which
Agave Expressionism is possibly achieved.
Agave Expressionism is a state of mind. It’s a way of thinking about art, a way of addressing
concepts of High and Low and the dissatisfaction with pre-existing methods of dealing with culture.
Treating cultural material with dignity.
Agave Expressionism is about addressing how avant-garde responses have failed.
It is not revolutionary, it is an anti-reactionary rupture. It is not a cynical gesture. It is an
attempt to bring this rupture into a formal possibility.
When do we know that we have rebelled or failed to rebel? And against what?
Agave Expressionism is an unrequited love affair with culture.
How does one deal with the failed revolts of the past century of art? It is not to succeed — it is to
fail differently, in a different dimension.
Agave Expressionism is an ethos of this failure, a practice towards releasing blockages to the
emotional life of culture: exercising our fraught sociality, taking seriously the question of lucidity
and madness, sobriety and intoxication within culture.