The BHG Manifesto 2.0 was a bore. A waste of time, a mistake, idiocy. Not radical enough, too marked by academic concepts. It’s developing. It is a truth we find self-evident, that we are gender-unbalanced, macho narcissists, fascist alpha-males. For too long have we looked at the FUCK YOU ALL scrawled in chrome above our little beds. It is sick to respect hypothetical rules in a battle of life and death. Let us ask the key question. Do we, as individuals, crave recognition and respect? If we accept that the answer is yes, it is important to know from whom we can get them... A second question presents itself: who are we willing to respect, or maybe even accept as a figure of authority? We understand that the academic setting requires one to follow role models. Academia is composed of a structure of hierarchy and idolatry. It is obvious that operating a gallery has its limits. That is why we’ve devised our own game. There is no time to change things locally. It is not enough. It is like screaming into the void...
BHG: THE RAT HOLE will consist of a series of three events which will take place outside of any gallery space. We feel the limits of the gallery, and so we will attempt to, at least for a while, unfetter ourselves from the working mechanisms of academia and the local art scene. Each of the events will be an exhibition of “Black Hole Generation presents”. BHG will be both artists and curators who will have the option to invite guests and artists who will take part in the event. The resulting three group exhibitions will take place at three different places which yet haven’t been weighed down by the ballast of local art historiography. Each of the chosen places will have been chosen intuitively and bears no politically significant context. The reason for choosing them is purely based on their authenticity and their genius loci. The event is an experiment. We will manipulate and stimulate the audience members with information communicated real-time, but which will be made accessible in various forms. Lately, there has been a tendency to appropriate cosmopolitan trends of maximal depersonalization – both in the works of artists and their sanctified curators, and vicariously on the part of the audience. We will attempt to attack and deform this trend.