In Praise of Folly
Jonathan Santoro
Jan 12 - Feb 24, 2023
Peep Projects is pleased to present In Praise of Folly, a new sculptural installation by Jonathan Santoro.
In 1509, the Dutch philosopher and Catholic theologian Desiderius Erasmus Roterodamus, commonly known as Erasmus of Rotterdam, wrote In Praise of Folly. A satirical essay written in the voice of Folly—a self-aggrandizing fool who celebrates hedonism, ignorance, madness, and self-deception—his screed railed against the corruption of the Catholic church and the bloviated traditions of European society. In Praise of Folly became hugely popular and, to Erasmus’s dismay, its sharp criticism, intended to nudge the church towards reform, instead split the church and fueled the Protestant Reformation, spawning decades of the bloody religious wars that followed it. So much for the praising of folly.
In 2023, emerging from the shadow of the pandemic, we are confronted with a vision of a changed America. Time stopped, patterns were disrupted—people were paralyzed by fear, saturated in boredom, engulfed in loneliness, and traumatized by mass death. These disruptions led to increased acts of violence, descents into addiction, road rage and vehicular homicides, deaths of despair, and a new wave of anti-social behaviors. Santoro’s In Praise of Folly uses the self-diagnostic tool of addiction recovery treatment, HALT (Hungry, Angry, Lonely, Tired), to explore post-lockdown social disengagement. HALT is intended to help those struggling with addiction identify their triggers and meet their basic needs. Here, each emotion/need is interpreted as an animistic hubcap encapsulated in modified tires. Referred to in title as “The Four Horsemen,” these characters drool, seethe, weep, and doze off, cartoonishly exaggerating their troubled states. Overhead, amber fluorescent lights glow, casting a pall over the room, like the foreboding yellow sky that signals a coming storm.
Santoro’s horsemen are discarded parts from a car, a machine which runs not on horsepower, but on bodily and emotional neglect; a societal death drive, speeding through broken social systems towards self-destruction. Rage, addiction, destruction, radicalization, conspiracy, violence, self-harm—we have become a culture of madness, of folly. Erasmus ends In Praise of Folly with this: “No Man is wise at all Times, or is without his blind Side." In a world built on folly, we are all the Fool.
Jonathan Santoro: In Praise of Folly, The Brooklyn Rail, Mark Thomas Gibson, February 2023
Jonathan Santoro (b. 1983, Providence, RI) is an artist based in Philadelphia. His work conflates personal and site-specific histories with theatrical mise-en-scène, pop psychology, and other cultural detritus to explore ideas around American exceptionalism, prosperity, addiction, and nostalgia. His solo exhibition, Always Chasing Rainbows, was on view at Moore College of Art and Design in 2020-2021 and his work has been exhibited at the Brooklyn Army Terminal for Kara Walker Presents: The Colossus of Rutgers in 2019. Other recent projects include exhibitions with New Scenario, High~Tide, Lord Ludd, Rosenwald Wolf Gallery, EFA, and Ki Smith Gallery. Jonathan received his MFA from Mason Gross School of the Arts at Rutgers University in 2020 and is currently an Artist-In-Residence at University of the Art’s iLab through summer of 2023.