To bag an edgy first win of the season would have sent the fanshome delirious. The Sun (2010)City fans were delirious with delight at the prospect of glory days returning. The Sun (2012)Feltalmost delirious from the lack of sleep - but pleasantly so. The Sun (2011)It was a sentiment shared by tens of thousands more delirious fans in pubs all across Bournemouth. The Sun (2015)The delirious crowd, leapt to its feet and cheered. The Sun (2012)The band was cheered to the echo by a delirious crowd, partly because this was such a rare treat. Times, Sunday Times (2007)I felt almost delirious with disclosure. Times, Sunday Times (2010)The ecstatic Cobblers boss savoured the moment as his side sang and danced in front of thousands of delirious fans at the end. The Sun (2016)THE noise was deafening as a delirious Manchester crowd rose to applaud a stunning home win. The Sun (2009)The goalssparked delirious celebrations from 30,000 England fans packing the stadium. The Sun (2006)And he was left fuming by City's delirious celebrations at the finalwhistle. The Sun (2008)For the delirious fans, plus one diminutivegolfer, it provided the perfectfinish to a perfect day. Times, Sunday Times (2008)The infectious glam stomp of the closer Retreatexplodes in delirious joy, a fitting high note on which to end. Times, Sunday Times (2014)When their delirious fans trampled over a Coraladvertisingboard to swarm on to hostileterritory and embrace their heroes, they thought they had it. Times, Sunday Times (2012)
Delirious is an intellectual and aesthetic time capsule that nearly coincides with the Cold War. It addresses an exceptional range of art made in reaction to the inherent madness of the 20th century, which experienced two cataclysmic world wars, multiple dictatorships, economic disarray, and social upheaval. Its aftermath profoundly affected a generation of intellects—in art, theatre, literature, and music—who in turn challenged convention and rationality. If you are fortunate to have had a generous liberal arts education, you will recognize the legacies of Theodor Adorno, Antonin Artaud, Gilles Deleuze, and Herbert Marcuse. You will especially recognize the centrality of Samuel Beckett to 20th century thought and his contributions to this exhibition. In a sense, Delirious could have been subtitled, “Beckett’s ghost.”
. . . artists did all manner of strange things to unfamiliar materials. They also challenged good form, disobeyed the rules of grammar, performed bizarre tasks for the camera, indulged in excessive repetition, destabilized space and perception, and generally embraced all things ludicrous, nonsensical and eccentric.
No other mid-century thinker championed such diverse maniacal creativity as Beckett. This is not the “cool, detached, and ironic” of Marcel Duchamp and the Neo-Dada generation. Beckett “built incongruity into every aspect of his writing, from its motifs and subjects to its style and composition.” Baum acknowledges how her own interest in—perhaps an obsession with—Beckett triggered her nearly five years of research to complete this exhibition. She also references Rosalind Krauss’s 1978 essay, LeWitt in Progress, which challenges conventional thinking about LeWitt, the rational Minimalist. Krauss’s essay, which should be required reading, is crafted to incorporate lengthy passages from Beckett’s novel Molloy, underscoring repetition bordering on obsessive-compulsiveness, if not madness.