Conceptual pieces whereby fellow basically does what the name of the work says.
It is indeed the title, of a suite of works performed over years–and that keep on going. ‘Perform’ is a bit strong, but mostly done without props. Through whispers, yells, provocations, verbal agressions (soft), reminders, demasking of blatant lies, undermining of extreme positions, contrarian, but not because being contrarian for the sake of it is any good–rather, truthtellerly confronting, where and when it matters… In all arenas, seriously: from the most banal to the most political0–and most of the time with an ethos, a poetics of not bringing too much attention to self, lest it all be taken for show, for lip service, fro grandstanding…
The CTPs were non-violent, yet virulent protest measures manifest through oral defense systems, oral modes of questioning and attacking, non-oral interventionist presences, situationist encantations, and other types of putting into questions the many absurd actions and non-actions of selves, others, individuals, groups, entities, corporations, nation-states, and various complexes too freagin’ hard to describe or enumerate. Admittedly, they were not always proactive, and, admittedly, they also knew of their own inadequacy. But admittedly also, they could simply not fathom non-action, and believed their realism and inability to bring change to some things (and not others) to be a blessing. They also weren’t just negationist, but crashed negativity with positive vibes of all sorts. They also espoused an aesthetic position (or else they wouldn’t be under this rubric, ehem ehem) and an ethical one of sorts. There was, in effect, a whole poetics attached to them. They were not publicized or announced, and there isn’t much documentation or archiving, obviously. They took on institutions such as museums and, sure, the government, they took on sandwich making shops (too little meat) and supermarkets (keeping the pennies). They took on museums. They took on theoretical positionings and a range of practices (Critique of professorial practice, Critique of curatorial practice), and many a conceptual framework and concepts (Hey hey, I’m a Latino too yo!). They refused to use some terms and brought down, in one conversation after another, the invisible barriers to freedom, liberty, and the no-non-sense defense of linguistic shennaniganery. You get the point. But… I’m talking in the past tense and I can hear you. Dude, no more? I mean, no more Crash the Party, now that you got the site up, and can get it together with others. Really. All right, I’d say, so, maybe… Maybe no past tense… But not alone, I ain’t goin’… not that I did before… Besides, I can just make it Crash the Party Interactive – people just do theirs, put them up here, if they want…
Carry it on, always, in a way. But making sure to also recognize it all as an art form. Art pieces. Art works…