For the Love of Losers
What is to be done with value? Its destruction simply empowers it. Fardjadniya builds on this double-bind using an iconoclast strategy that is itself bound in the circularity of action and reaction, attestation and resistance. The artist references the most prevalent assumption and fear in any iconoclast debate, which is that the viewer misguides his adoration towards the image rather then to the issue represented by the image. Fardjadniya accentuates this debate by inviting the destruction of what represents commercial art, an action that nevertheless completes his own piece of work. Wiebke Gronemeyer, Independent curator, based in London and Hamburg.