My supervisor recently lent me a formidable coffee table book just published about Douglas Coupland’s art. As a suburban boy, there is something positively Coupland-esque about the fact that I have never managed to see any of his work up close and in person. The world goes on elsewhere, in Berlin and New York and Santiago and Dalian, but in Maynooth I could track it all through a browser window – which is something for which we should be grateful. The title reminds us after all, that everything is now anywhere.
I knew of some of Coupland’s artwork before, like his Digital Orca installation and his security blanket covered with the world’s most trusted corporate brands, but so much of it was new to me:
In Coupland’s introductory essay he tells us that growing up in North Vancouver – a logging centre turned into the suburb of a dynamic, utoptian city – taught him that enlightenment invariably comes at the expense of nature. Coupland’s work, in his art and in his writing at its best is testimony to this. The world where everywhere is anywhere and where anything is everything is a plastic world; creation has been superseded in our minds and replaced in our space with invention.
With essays from some of my favourite artists like Chuck Klostermann and William Gibson and Michael Stipe, this was a treat of a book to peruse. But it is Coupland’s art that rightfully lingers. For the Biennial of the Americas, held in Denver, Colorado in 2013, Coupland erected this sign on a vacant lot in the city.
A week later the city of Detroit declared bankruptcy. Today, it’s drinking water supply is undergirded by help from the United Nations. Everywhere is anywhere is tinkering on the edge of oblivion.
I am intellectually inclined towards the aphorism. Surely this is why Hauerwas is my theological mentor and Vonnegut is the saint I would pray to, if I prayed to saints. It is why the parables exert such a mighty influence over my mind. It is even why Lincoln Harvey is my favourite Christian on twitter. In 2012 in Berlin, Coupland exhibited his “Slogans for the early 21st Century”, stark zen koans, daubed in black capitals on bright backgrounds.
ACCELERATION IS ACCELERATING
EVERYONE ON EARTH IS FEELING THE SAME WAY THAT YOU DO
IN THE FUTURE WE’LL ALL BE SHOPPING FROM JAIL
I MISS MY PRE-INTERNET BRAIN
KNOWING EVERYTHING TURNS OUT TO BE SLIGHTLY BORING
WE’VE NEVER BEEN SMARTER | WE’VE NEVER FELT STUPIDER
REAL TIME OFTEN FEELS LIKE NEITHER
THE FUTURE LOVES YOU BUT IT DOESN’T NEED YOU
THERE’S NO SHOPPING ON STAR TREK
WE PITY PEOPLE IN 1970S AND 1980S MOVIES AND TV BECAUSE OF HOW LITTLE TECHNOLOGY THEY HAD
BEING MIDDLE CLASS WAS FUN
WHERE DOES PERSONALITY END AND BRAIN DAMAGE BEGIN?
A FULLY LINKED WORLD NO LONGER NEEDS A MIDDLE CLASS
REMEMBER NOTHING YOU DON’T HAVE TO
ARE WE TOO FREE?
I DON’T KNOW
ONE DAY YOU WILL SPEAK WITH YOURSELF
MULTITASKING IS A MYTH | WE ARE SERIAL THINKERS
FEELING UNIQUE IS NO INDICATION OF BEING UNIQUE
OH MY GOD
HUMANITY HASN’T BEEN AS MENTALLY HOMOGENIZED SINCE THE LAST ICE AGE
TOO LONG TO READ
DELETE ENTIRE HISTORY?
FEAR OF MISSING OUT
YOU ARE THE LAST GENERATION THAT WILL DIE
The piece of art that struck me most forcefully is his collection of “hornet’s nests”.
Writing a book is an audacious thing to do. To capture a story you made up in ink pressed on to paper is to make a statement that lingers long after you may have repudiated the tale you told. These delicate nests, that mimic the homes created by fierce, angry and painful tormenting insects, are constructed by tearing out pages of his own books, chewing them up in his mouth and then gently drying and peeling them into these hives.
But the works that will probably resound into the future are the works that Michael Stipe writes about. One, called The Poet, looks like just another piece of dotted art, the kind of thing that you see in every final year exhibit in every art college. But this is 2014. Even with art that doesn’t instantly resonate with us, we feel a need to take out our iPhones and Galaxies and Nexuses and snap a photo to stick on Facebook later. When you take a photo of The Poet, the cellular phone machine you carry in your pocket interprets it for you.
You see the Falling Man from September 11th.
You carry the ability to see and hear and learn everything you would ever want to see and hear and learn in your pocket and your handbag but you use it to read puns sent out by an Anglican priest in London. Or at least I do. The total availability of data forces us to choose where we will register what the data represents. As Stipe puts it, Coupland “offers us the choice to either see or not see these deeply internalized images.”
The most affecting essay in the collection is by Sophia Al Maria, “A Millennial Moment”. She is an artist based in Qatar who was born around the time I was born. Her essay charts how her life has changed along with the period Coupland’s work has been prominent. The descent into the madness of the never-ending war on terror is captured powerfully. She has an anecdote about recognising a voice behind her on an escalator in Doha and realising it was the boy from high school she had a crush on. Now he was a US Marine and as she is “swathed head-to-toe in the black polyester of my Qatari national dress: the abaya,” she is not recognised. Her old friend walks by without seeing her. We choose what we see. Al Maria becomes “Anonymous. Obscured. Out-of-focus.” Now she is “like some tacky shadow of death, a target in whatever pre-combat simulator he probably trained on, not a girl he went to high school with.”
Coupland grew up in that generation after the post war economic boom. He grew up in a military family in the midst of the Cold War and the threat of nuclear annihilation. He grew up in a time where people still felt utterly convinced that optimism was the right way to respond to the world. When I first read his early works I found a man preaching my Gospel – humans are advancing. As I aged, I have come to see I am right about that and very wrong too. Coupland’s art is about progress – but the progress that actually did happen. Tyler Johnson, the protagonist of Shampoo Planet, progresses from his parents failed hippie commune to yuppie certitude. The prefab dreams of North Vancouver gave rise to a world where we try to forget the falling man of Manhattan. The digital logic of clean, straight-edged LEGO may have cognitively conditioned us to imagine a future where things fit together, but we have broken them up.
We are creators who are creatures. We are creatures who unmake as fast as we create. That Coupland continues to unveil the vulnerability entailed in that means he is a friend you should make. He isn’t always a happy friend, and his books are sometimes very badly off course. But as Chuck Klostermann quotes it in his essay, “Bad taste is real taste.” Coupland, even when is off-course, is somehow headed in the right direction.
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