{"id":83523,"date":"2015-03-10T18:51:08","date_gmt":"2015-03-10T22:51:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=83523"},"modified":"2015-03-10T18:54:50","modified_gmt":"2015-03-10T22:54:50","slug":"crashedcrushed","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/03\/10\/crashedcrushed\/","title":{"rendered":"Crashed\/Crushed"},"content":{"rendered":"
\"ronaradpressedyellowflower\"<\/a>

Ron Arad, Pressed Flower Yellow<\/i>, 2013, steel, glass, leather, plastic, and vinyl, 145 5\/8″ x 98 3\/8″ x 7 7\/8″. Image via Paul Kasmin Gallery<\/p><\/div>\n

In 1970, before he started on Crash<\/em>, J. G. Ballard staged an exhibition of totaled cars at London\u2019s New Arts Laboratory\u2014\u201cthree crashed cars in a formal gallery ambience,\u201d he called it in his Art of Fiction interview<\/a>:<\/p>\n

\n

The centerpiece was a crashed Pontiac from the last great tail-fin period \u2026 What I was doing was testing my own hypotheses about the ambiguities that surround the car crash \u2026 I hired a topless girl to interview people on closed-circuit TV. The violent and overexcited reaction of the guests at the opening party was a deliberate imaginative overload which I imposed upon them in order to test my own obsession. The subsequent damage inflicted on the cars during the month of the show\u2014people splashed them with paint, tore off the wing mirrors\u2014and at the opening party, where the topless girl was almost raped in the rear seat of the Pontiac (a scene straight from Crash<\/em> itself), convinced me I should write Crash<\/em>. The girl later wrote a damningly hostile review of the show in an underground paper.<\/p>\n<\/blockquote>\n

<\/p>\n

As the opening night progressed, an increasingly drunk crowd peed on the seats and poured wine on the cars. In a handout for the exhibition, Ballard described a car crash as \u201cthe most dramatic event we are likely to experience in our entire lives apart from our own deaths.\u201d This handout also saw the nascent form of an analogy he developed to disturbing effect in Crash<\/em>, one that likens the potent, labile energies of a car crash to a kind of erotic bliss\u2014an apotheosis, a violent orgasm. \u201cA car crash,\u201d he told Penthouse <\/em>in 1970, \u201charnesses elements of eroticism, aggression, desire, speed, drama, kinesthetic factors, the stylizing of motion, consumer goods, status\u2014all these in one event. I myself see the car crash as a tremendous sexual event<\/a> really: a liberation of human and machine libido (if there is such a thing).\u201d<\/p>\n

It\u2019s hard not to think of Ballard, and of Crash<\/em>, as you look at the series of flattened Fiat 500s that comprise Ron Arad\u2019s In Reverse<\/a><\/em>, showing through March 14 at Paul Kasmin Gallery. When the Israeli-born Arad was a child, he nearly lost his father to a car accident; his dad, driving a Fiat Topolino 500c Giardiniera, found himself plowed over by a garbage truck. The destroyed Fiats on display here are inspired by the fear and rupture of that incident\u2014but these have been flattened, by a 500-ton press in the Netherlands, to a cartoonish perfection. There\u2019s no crash that could\u2019ve produced them. Where Ballard\u2019s cars are snarls of glass and mangled steel, made to summon the stochastic terror of a good ten-car-pile-up, Arad\u2019s are like squashed insects underfoot. Or like the pressed flowers they\u2019re named after: acts of preservation by reduction. \u201cThe idea here is to allow them to stay cars,\u201d Arad told\u00a0Wallpaper<\/em><\/a>, \u201cyet show them from a new perspective.\u201d<\/p>\n

Cars, which Ballard called \u201cour most potent consumer durable,\u201d are in Arad\u2019s sculptures demonstrably non<\/em>durable. The press\u2014a bigger, better machine, an even greater terror\u2014has crushed them like cans. (Arad, not coincidentally, once presented an exhibition of cans that had been crushed by cars. \u201cIt\u2019s always nice to see things happen in front of you that you are not totally in charge of, that are not exactly the fulfilment of your blueprint,\u201d he said.) And so objects made for motion are now still; objects built for the road now hang on a wall, their three dimensions compressed almost entirely to two. The exhibition title, In Reverse<\/em>, invites us to imagine their slow-motion reconstruction\u2014they\u2019ve been destroyed so ably that you can work backward, undoing their collapse in your mind just as you can re-extend any crushed can.<\/p>\n

Of course, there\u2019s little of the \u201cimaginative overload\u201d that Ballard\u2019s show created: these sculptures don\u2019t put you in the atavistic, dystopian, rubble-ridden state of mind that would make you want to pee on them. But you can still read them as the latest in a tradition of car-as-pornography that others have traced<\/a> from Marinetti\u2019s Futurist manifesto (\u201ca roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace<\/em>\u201d) to John Chamberlain, C\u00e9sar Baldaccini, and Jim Dine. If Ballard\u2019s most blatant precursor is Andy Warhol\u2019s Car Crash <\/em>prints, then Arad\u2019s is Arman\u2019s White Orchid<\/a><\/em>, in which the artist dynamited an advertising exec\u2019s white MG convertible and then hung it on a wall.<\/p>\n

In an excellent piece for Slash Seconds<\/a>, Simon Ford writes that Ballard\u2019s Crashed Cars exhibit \u201crevealed cars as objects of both consecration and desecration, instant relics of a new but powerful anti-humanist force in society.\u201d The same is true of In Reverse<\/em>. It\u2019s just that today, that force is cleaner, faster, and more ruthless than ever before.<\/p>\n

\"pressedflowerred\"<\/a>

Pressed Flower Red<\/i>, 2013, steel, glass, leather, plastic, and vinyl, 145 5\/8″ x 86 5\/8″ x 7 7\/8″<\/p><\/div>

\"ronaradpressedflowerpetrolblue\"<\/a>

Pressed Flower Petrol Blue<\/i>, 2013, steel, glass, leather, plastic and vinyl, 145 5\/8″ x 90 1\/2″ x 7 7\/8″<\/p><\/div>

\"ronaradinstallationview\"<\/a>

In Reverse<\/i>, installation view.<\/p><\/div>

\"JG<\/a>

A crashed Pontiac from J. G. Ballard\u2019s 1970 show.<\/p><\/div><\/p>\n

Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

In 1970, before he started on Crash, J. G. Ballard staged an exhibition of totaled cars at London\u2019s New Arts Laboratory\u2014\u201cthree crashed cars in a formal gallery ambience,\u201d he called it in his Art of Fiction interview: The centerpiece was a crashed Pontiac from the last great tail-fin period \u2026 What I was doing was […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[12528,922,17350,35,17347,10484,17346,3779,17344,10232,8321,8522,17349,17348,15530,180,17345,964,17351],"class_list":["post-83523","post","type-post","status-publish","format-standard","hentry","category-look","tag-accidents","tag-andy-warhol","tag-arman","tag-art","tag-car-crashes","tag-cars","tag-compression","tag-crash","tag-fiat","tag-filippo-marinetti","tag-j-g-ballard","tag-jim-dine","tag-paul-kasmin","tag-penthouse","tag-pontiac","tag-pornography","tag-ron-arad","tag-sculpture","tag-simon-ford"],"acf":[],"yoast_head":"\nRon Arad\u2019s Haunting, Flattened Cars Remind of J. 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