Everything You Always Wanted To Know About X o X (But Were Afraid To Ask) by Django Fucktard
In pablo recidivision’s (much misunderstood) masterpiece ‘X o X’ the artist poses some interesting questions - indeed, the first ‘X’ is an epistemic epiphany of demi-existentialism in itself. By drawing on some of the concerns of the Pre-Raphaelites and subverting this with Post-Neo-Bauhaus spatial architecture he paints a compelling study of the paradoxical limitations of expansive au courant minimalism. The ‘X’ is not so much ‘X’ but an accusation that reveals the vacuity of the current non-noumenal mimesistic cultural malaise. Many who first saw the piece were actually unaware that the two occurrences of ‘X’ were non-interactive-sub(as in non)-functioning (and therefore phenomental pre-archaic aporias) hyperlinks to different dimensions of philosophical preternaturality (always challenging (by super-valuing) the multi-dichotomised deconstructionism) and psychological quasi-manipulation. Clearly the ‘o’ in the centre of the landscape plays on Orpheus and is a savage pro-conceptualised-anti-cognitional satire on Blumenburgian-Ricœurensian-Carnapalisms -- it is, however, that which orbits around ‘o’ that still causes the most controversy with readers who lack the faux-intellectual-pseudo-sophistication to appreciate one of this decade’s most influential works.