14 April 2014

.hsdpdf FREE download

I curated a show called Hyper Spectral Display (.hsd) at 55 Sydenham Rd Marrickville NSW 2204 AU, which ran 28 June through 14 July 2013. The artists were Adam Cruces, Amalia Ulman, Clara Chon, Jack L. Dunbar, Joe Hamilton, Matthew Linde, Megan Hanson and Oliver van der Lugt.

I mentioned it on this blog a while back and you can find more infos here or on the .HSD Tumblr.

To accompany the show, I edited .hsdpdf, a PDF publication released in January 2014 comprising contributions from the artists as well as newly commissioned texts from Giselle Stanborough, Holly Childs, Kailana Sommer and Rózsa Farkas, with design consultation by Nadia Hernández.

For all this and more, please download the .hsdpdf by clicking the picture or the link below:


Many thanks to all contributors! Please share this with your friends if interested :)

6 April 2014

Quote of the day, yay!

"This heavy weight, pressing down and through the body, is the certainty of death. Depression is a form of pragmatic realism. If everything humans can achieve means nothing in the moment of death, why live? Why move forward? If the end result is erasure, why participate in the unending march toward annihilation that constitutes daily existence? It is the confrontation with this fact that precipitates depression. No amount of ego, money, or fame can deliver a human from depression, because no amount of ego, money, or fame can prevent death. The most interesting artists, the most pragmatic artists, the artists who work on problems beyond their own self promotion and success, work in a state of constant, unending depression. To face the certainty of death, without the fantasies of success or progress, and still make artwork is a radical gesture. Radical gestures cannot be maintained. Death wins.


Depression is often directly caused by, in the words of Carl Wilson from a recent review of a biography of Alex Chilton, "whatever drives a handful of artists to be great at the expense of being good, to gamble double or nothing on the long odds." To these artists, working often means the same thing as failure, in direct opposition to the ones who produce to prevail, the game players and the posers, the networkers and the opaque black holes, the ones that master systems and moves, techniques and cliques, professional attitudes and academic jargon. Have fun being successful. Have less fun not being successful. Thus, depression. Someone has to lose, something. Despite all assurances, in whatever form, be it connections, friends, curators, awards, prestigious exhibitions, magazine articles, or money, there is no guarantee that an artist can or will make a great work. Many artists game the system, making things that will bring success fast and easy, or things that sit in judgement of fast and easy by ironically moving faster and easier. This is cynicism. These artists have already lost everything, and their work doesn't matter. Being successful is nothing. Failure is the most important thing in the world, and it is the mistakes that cannot ever be replicated that are the most beautiful.


If reflected through the prism of desire, the spectrum of physical objects that can be described as contemporary art reveal wide rivers of desire: desire for power, desire for money, desire for influence, desire for security, desire for fame - these desires are the main courses to run, and yet they are corrupt. Art driven by these agendas is art in name only. Art forms, like a crystal, past the limits of desire, beyond which lies the unknown. One cannot desire what cannot be conceived, but what cannot be conceived can be created."

-- text for Depression, exhibition organized by Ramiken Crucible at François Ghebaly Gallery, Los Angeles, 2014

9 March 2014


Brisbane-based artist Tyza Stewart's first solo show, curated by Joel Mu, was held at 55 Sydenham Rd Marrickville NSW 2204 AU from 27 September through 6 October 2013.

You can see documentation of the exhibition here: 55sydenhamrd.com/tyza-stewart.

To accompany the exhibition, Mu edited a book titled tyzatyzatyza, which includes his essay on Stewart's work 'If I could do this for real I wouldn't have to take selfies', illustrations of over 40 of Stewart's works, and an essay by Iakovos Amperidis and myself titled 'Some thoughts on the Sydney Contemporary/Tyza Stewart situation'. The book was designed by Arnel Rodríguez.

The self-published book was launched on Thursday 19 December 2013 at Sedition in Darlinghurst, Sydney, for a special price of $15 (RRP $30). The book details are as follows:

55 Sydenham Rd Marrickville NSW 2204 AU

National Library of Australia Cataloguing-in-publication entry


Stewart, Tyza (artist, author)
Mu, Joel (author, editor)
Amperidis, Iakovos (author)
Weber, Eleanor Ivory (author)
Rodríguez, Arnel (designer)

Artists’ books
Art, Australian—21st century
Art, Modern—21st century
Art and computers
Identity (Philosophical concept) in art

Dewey Number: 702.81

To enquire about obtaining a copy of tyzatyzatyza, please email us at: contact [at] 55sydenhamrd [dot] com

8 February 2014

Minerva, Sydney

Minerva, a new gallery in Potts Point, Sydney, opens today, Saturday 8 February 2014, from 16.00-19.00!

The inaugural exhibition, '"Sunny and Hilly"' features the work of a great line-up of Australian artists:

Hany Armanious,
Andy Boot,
James Deutsher,
Fayen d'Evie,
Helen Johnson,
Jonny Niesche,
Joshua Petherick,
Marian Tubbs.

Melbourne philosopher Justin Clemens has written a poem, 'Minerva's Superfetation', for the press release:

‘The owl of Minerva only takes flight at dusk.’ — G.W.F. Hegel

Here, now, in Sydney, the Oldest West of White Australia —
Still the bastard love-child of Bentham and De Sade
(As Robert Hughes puts it in The Fatal Shore) —
At an indistinct yet absolute fault line of the city
Where the oleaginous networks of fiscal ascendancy
Lick the drug-bespattered arse of the rotten Cross,
And the junky dancers can barely be told from rich joggers,
All lycra and navel-piercings and tans-so-fake-they-must-be-real,
There stands Minerva, ‘an historically-significant inter-war building’
Bridging the hard corner of Orwell and Macleay Streets,
Named for the Roman goddess who presides over art,
Wisdom, schooling, medicine and war, arrogant, virginal,
Not born through parthenogenesis nor pollination nor sexual reproduction,
But from the first thought of Jupiter, Lord of the Gods,
When they cleft his forehead and his daughter leapt out
Screaming a war-cry so terrible the skies themselves trembled,
That one gets the derivation from Sanskrit, *men-, ‘mind,’
As the original terror of thinking entering the world
On wings as deadly as the owl her spirit companion,
Black eyes without profile at the last hinge of day and night,
Giving ten thousand works to be seen that were never before.

For those in Sydney, the show runs through Saturday 15 March 2014 and the gallery is open Wed-Sat, 12-18h00. The address is: 4/111 Macleay Street, Potts Point NSW 2011.

1 February 2014

Anno Domini but add another D: faith in Chicks on Speed

Back in 2013 I was commissioned by Artspace, Sydney, to write an essay for the 11th issue of their journal Column, reflecting on the Chicks on Speed exhibition SCREAM, which ran from 13 March through 21 April 2013.

The essay was published online in PDF form in October, to download, please click: http://artspace.org.au/content/pdf/Artspace_2013Column_EIWeber_CoS_LR.pdf

A version of this essay was also published in print in the 4th issue Arcadia_Missa's journal How to Sleep Faster. For more information on this issue, and to purchase a copy - with super cover design by Megan Rooney and a host of wonderful contributions from writers and artists - click here.

Many thanks to Mark Feary and Caraline Douglas at Artspace.

27 December 2013

Quote of the day, yay!

'"It is impossible," Simone Weil writes in Gravity and Grace, "to forgive whoever has done us harm if we believe that harm has lowered us. We have to think that it has not lowered us, but has revealed to us our true level."'

-- from Chris Kraus' Aliens & Anorexia, Semiotext(e) 2000, 2013, p. 47

26 December 2013

The Lip Anthology: An Australian Feminist Arts Journal 1976–1984

The Lip Anthology: An Australian Feminist Arts Journal 1976–1984 is edited by Vivian Ziherl and published by Macmillan Art Publishing (Melbourne) and Kunstverein Publishing (Amsterdam) in 2013.

It comprises a preface by Helen Hughes, an in-depth introduction by Ziherl, and facsimiles of important articles and visual essays from each issue of the magazine, which was published out of Melbourne and edited collectively from 1976 through 1984. Contributors to these pages included Janine Burke, Annette Blonski, Suzanne Davies, Helen Grace, Ponch Hawkes, Sue Johnston, Laleen Jayamanne, Suzanne Spunner and Ann Stephen, among many others.

The Lip Anthology serves as an excellent survey of what was happening in Australia at this moment in the context of female artistic production, socially, politically, in regard to theory, literature, and of course artistically. It is a valuable historical uncovering that will spur greater reflection and deeper research into this important moment in Australian culture. It is an encouraging document for those interested in Australian artistic practice and history (and for those who've never thought about it), for it recalls the diversity and complexity of production in the country, particularly throughout the 1970s and '80s. The Lip Anthology also serves as a tool for drawing interesting parallels and dissonances with comparable moments in other countries, such as the USA or Italy.

The facsimiled articles are varied in voice but always intelligent in tone. One has the impression of a group of women trying to locate a (collective) voice, a platform for their work, and all the while having to compete at various degrees of intensity with the constant and loud whirl of a patriarchal system that - albeit altered - may resound with striking familiarity to contemporary readers. As Ziherl elaborates:

"Lip magazine was self-published by women ... and stood as a lightning rod for Australian feminist artistic practice over the ‘Women Liberation’ era. The art and ideas expressed over Lip’s lifetime track, with ground-breaking moves into performance, ecology, social-engagement and labor politics, stood at an intersection with local realities. The Lip Anthology seeks a figuration of Lip as a composite feminist entity produced with relation to the situational conditions of its production.

The anthology selection is not proposed as a ‘best of’, but rather as cumulative array of materials indicating the range and dynamism of the Lip project. The diversity of the periodical is privileged across multiple disciplinary vantages, as well as among the varied feminist positions brought together through the discursive space afforded by Lip. Collecting and presenting the materials of Lip for the first time since their original appearance, the anthology seeks (re/de)construction and routes of (re)circulation towards points of (re)commencement."

Vivian Ziherl has launched the book, accompanied by an insightful paper and often one or two respondents, in Graz (Grazer Kunstverein), Amsterdam (Kunstverein), Berlin (Archive Kabinett), London (Cubitt), Brisbane (IMA), Melbourne (RMIT), Sydney (MCA, where I was a very humble respondent along with the remarkable Ann Stephen) and most recently in Beirut (98weeks) - plus I've probably missed some place as there are lots!

For more info on how to get hold of the book, visit Kunstverein (ISBN: 978-1-921394-77-5).

4 December 2013

Quote of the day, yay!

'... nothing is real to us but hunger.'

-- Kakuzō Okakura, as quoted in The Family of Man catalogue, Museum of Modern Art, New York 1955, p. 152

30 November 2013

2 cities, 1 night: Sydney & Melbourne

Tuesday 3 December 2013:

For those in Sydney, an exhibition titled 'Won't Work' is opening at Kudos Gallery from 17:00 - 19:00.

The show is curated by Andrew Haining, whose own work will feature alongside a group of Sydney-based artists: Alex Clapham, Mitchel Cumming, Brian Fuata, Talitha Klevjer, Al Poulet, Kieran Richards, and Zoe Robertson.

'A critique of the art of what works is redundant because the idea of what works isn’t working. It is the creation of an imperative that isn’t posited by power but denied by it. This isn’t a show critical after the fact, but the provocation for an art free of can't.'

The exhibition continues through Saturday 7 December 2013 (the gallery is open 11am-6pm Wed to Fri, and 11am-4pm Sat).

For more information visit wontwork.info or the Facebook event.


For those in Melbourne, head to Monash University Museum of Art (MUMA) for the launch of Impresario: Paul Taylor, The Melbourne Years, 1981–1984, from 17:30 - 19:00. As the press release explains:

'This new publication focuses on Paul Taylor (1957-1992), the Australian editor, writer, curator and impresario. In particular, the book analyses Taylor’s important and influential early years in Melbourne, which included the founding of Art & Text, the curatorship of the exhibitions ‘POPISM’ (National Gallery of Victoria) and ‘Tall Poppies’ (Melbourne University Art Gallery), and the editing and publishing of an anthology of Australian art of the 1970s, Anything Goes: Art in Australia 1970–1980.

Edited and introduced by Helen Hughes and Nicholas Croggon (founding editors of Discipline magazine), designed by Brad Haylock, it includes recently commissioned essays and interviews, lecture transcripts and reviews, as well as a range of photographs which document the era.'

With contributions from some of Australia's most important artists, writers and curators: Judy Annear, Heather Barker & Charles Green, Philip Brophy, Janine Burke, Rex Butler & Susan Rothnie, David Chesworth & Jon Dale, Edward Colless, Sue Cramer, Ashley Crawford, Juan Davila, Kelly Fliedner & Jenny Watson, Paul Foss, Merryn Gates, Jonathan Holmes, David Homewood & John Nixon, Lyndal Jones, Maria Kozic, Adrian Martin, Chris McAuliffe, Patrick McCaughey, Ian McLean, David Pestorius, Denise Robinson, Robert Rooney, Vivienne Shark LeWitt, Imants Tillers, Ralph Traviati, Peter Tyndall, Russell Walsh, and Graham Willett.

For more information visit http://www.monash.edu.au/muma/events/2013/paul-taylor.html or the Facebook event.

18 November 2013

Tiny Stadiums 2013

Tiny Stadiums opened in Erskineville, Sydney, on Wednesday 13 November and runs through Saturday 23 November 2013. The festival is produced by PACT centre for emerging artists and this year curators Groundwork have commissioned artists to respond to some of inner-city suburb of Erskineville's idiosyncratic spots, resulting in a program of live art, workshops, panels and performances.

Tiny Stadiums brings together a 'unique blend of interdisciplinary emerging artists and performers transforming thoughts and values of familiar public and pedestrian spaces in the inner-city to push artistic creation. Newly commissioned works will be realised over rooftops, gardens, the Town Hall, shop fronts and also through barter and trade.'

Artists involved include: Albert Tucker Slow Coffee, Bennett Miller, Ella Barclay, Hossein Ghaemi, Imogen Semmler, Jennifer Hamilton & Craig Johnson, Kailana Sommer, Kenzie Larsen, Leahlani Johnson, Lucas Ihlein, Natalie Abbott, Nick Coyle, Wade Made, zin, and more.

I attended Kailana Sommer's 'Rock Swap' on Saturday, where she has set up a barter system for precious stones and minerals. It's about swapping something special for something else special (a rock!), how we arrive at an agreement, what is significant about the objects swapped and how they align and can tell stories of themselves and each other. It's also a really beautiful installation to look at, and is located in the Erskineville Town Hall, so I highly recommend checking it out on Saturday 23 November from 15:30-18:30 - don't forget to bring something to barter!

I also was lucky enough to catch Hossein Ghaemi's rooftop operetta 'The Deficient Of Solution Development: Quizzing Makes Remedy' (which is also on again on Saturday 23 November from 18:00-19:00). As described in the program: 'Three warriors rise up from three unique and elevated positions to engage in a combat of sonic "questions" as their weapons. These distinct and powerful voices become sweet remedy for serenity as individual uncertainties melt.' All true. And, if nothing else, it's worth passing by for the magnificent costumes, surprisingly transcendent voices, plus generally pretty wonderful sight of an indulgent, fantastical vision taking flight atop a low-rise inner-city block! Allez-hop.

You can view the full Tiny Stadiums program here, or visit the Facebook page there. Check it out!

23 October 2013

Quote of the day, yay!

'Love is about mixing genes to compete with bacteria and viruses, and to dream together about conquering the cosmos in its various forms. People who do not mix fluids, do not dream, and use hand sanitizer or mouthwash will be extinct.'

— Alexander Tarakhovsky, as quoted in Solution 247–261: Love (ed. Ingo Niermann), Sternberg Press 2013

17 October 2013

Unified Fabric

Unified Fabric is a render farm, sound piece and collection of video works that opened at Arcadia Missa on Tuesday 15 October 2013 at 6:30pm.

The show includes an installation by Harry Sanderson, and video works by Hito Steyerl, Clunie Reid, Melika Ngombe Kolongo and Daniella Russo, Maja Cule, and Takeshi Shiomitsu.

The project was initiated by Arcadia Missa for the '(networked) every whisper is a crash on my ears' programme and stems from their previous work and conversations with Sanderson, and specifically his text 'Human Resolution' for Mute magazine, 2013.

A render farm is a super computer, typically used for rendering Hollywood animations, the 'farm' in Unified Fabric is self-built by the artist.

There are exhibition texts at the gallery by Michael Runyan and myself (see link at bottom) and the show runs through Saturday 2 November 2013.

For those in London, Unified Fabric is a must-see! Please take a copy of my text, any feedback appreciated. For more information, visit arcadiamissa.com or the Facebook event.

Thanks to Rózsa Farkas and Tom Clark for their welcome.

EDIT: Read my Unified Fabric text 'Story for corporate cleaners' by clicking this link: http://www.academia.edu/4830149/Unified_Fabric_story_for_corporate_cleaners !

17 September 2013

Quote of the day, yay!

'It’s hard to recognize that your whole being, your soul doesn’t move at the speed of your cognition. That it could take you a year to really know something that you intellectually believe in a second [...] how not to feel ashamed of the amount of time things take, or the recalcitrance of emotional or personal change.'

-- Eve Kosofsky Sedgwick, 'The reeducation of a queer theorist' (in conversation with Maria Russo), 1999

[Thanks to my wife, Iakovos Amperidis, for sending the quote. Picture is Tyler Curtain as Eve from Lauren Berlant's blog.]

15 September 2013

Dark Arts: election special

Last Saturday, 7 September 2013, I wrote a text and did a reading of it for an exhibition called Dark Arts, held at Marrickville Garage and curated by Philipa Veitch. Philipa writes:

'Dark Arts is a group exhibition investigating the phenomena of the permanent campaign, a term that has come to describe not only the process of non-stop or total campaigning by politicians, but a situation where the process of campaigning and the process of governing have lost their distinctiveness.'

The artists involved were Carla Cescon and Scott Donovan, Alex Gawronski, Ian Milliss (pictured above), Sarah Newall and Jane Polkinghorne, Kevin Sheehan, and Philipa Veitch.

My text/performance was titled 'Crass demo (subject imperative)'. I made a 15 minute mix which was played loudly through an amp, while I read into a microphone, clumsily flicking through A4 pages, holding an iPhone with torch app because I asked the lights be off, and dressed very chicly in black, with red lips and high heels.

It was only later I realised the significance of doing the performance in the dark, given the theme of the show, i.e. based on the dusky times of democracy in which we live. Coincidentally, the only other light source besides the iPhone torch was behind me: the muted TV coverage of the Australian federal election results as the votes came in, visible on a flat-screen to my right (showing an array of ugly commentators' faces, coloured graphs and a depressing swing toward the conservative party).

The very amateur mix includes the following tracks:

Uspudo after Erik Satie - Gymnopédie No. 1
Emptyset - Gate 2
Kraftwerk - Showroom Dummies
Isao Tomita after JS Bach - The Sea Named 'Solaris'
Neil Diamond - Red, Red Wine
Anon. after Vincenzo Bellini - Casta Diva piano arrangement
Lana Del Rey - Blue Jeans (Penguin Prison remix)
Mina with Alberto Lupo - Parole, Parole

A transcript of the 'Crass demo' text is available upon request.

Thanks a lot to Philipa Veitch.

14 September 2013

How to Sleep Faster #3 essay

Way back in August 2012, I was going on about the launch of Arcadia_Missa's third issue of How To Sleep Faster here!

Well, I finally go around to scanning my essay 'Psycho Sleights of Hand: Autonomy and Cybernetics' from the journal, which you can download by clicking the link or picture below.


Thanks, as always, to Tom and Rózsa at A_M.

6 September 2013

Quote of the day, yay!

'When I state that I am an anarchist, I must also state that I am not an anarchist, to be in keeping with the [...] idea of anarchism. Long live anarchism.

-- Christopher D'Arcangelo (1955-79)

13 August 2013

Anatum's Abode - text call!

Anatum's Abode is a 'cultural hub and independent exhibition space' located at 613 Commercial Road, London E14 7NT.

They run various events based around sound, movement, food, learning and physical awareness, all in a shared, non-prestige oriented environment. The notion of 'art world' and the social-climbing trappings that come with it, as well as the way real culture is distorted into image/reputation-building exercises, are all things Anatum's works against.

Always trying.

They describe themselves as 'an arts center focusing on bringing people together and providing exhibition space for emerging and established artists, free of charge. Anatum's Abode welcomes all with arms wide spread - be it works of any media or various types of performance.'

Check their Facebook page for event updates and news and/or email anatumsabode[at]gmail.com to ask for information or to be added to the mailing.

Recently a call-out has been made for texts of any kind for Anatum's print-on-demand service. This is the announcement:

we have a printer. lets give it voice.
we are offering a drop in print on demand distribution point.
print in black on white from 2-6pm.
enthusiasts, empathics and anyone from convinced to experimental is welcome to contribute their research, dissertation,poetry, exploration

from now:

Distribution of info

print on demand at Anatum's Abode

opening hours 14 – 18h : 7/7

written works on any topic produced with free will and dedication

All rights reserved to the author

Anatum's Abode is open to receive written material to be distributed at the gallery during the opening hours

Brief :

Texts on any topic


essays, dissertations, research, poetry, investigations

produced with free will and dedication only


the idea is to provide access to intellectual property formally and informally, spread the word and give it voice.

anything you feel strong about and have put the effort to formulate in any language will be accepted, provided it has been produced by you personally with free will and absolute dedication

works will be printed in black and white and can be read directly in the salon in the gallery or alternatively in the garden of Anatum's Abode

a contribution towards the printing costs and a self appointed donation for the author's work is requiered, commentary about the work can be left to be forwarded accordingly


to be added to the archive please send your writing to anatumsabode@gmail.com and include a brief description of the content as well as infos about yourself

please spread the word among your contemporaries

looking forward to your contribution


Anatum's Abode

Anyone with something to say should get in touch! And in the meantime, check out Health in the Arts platform, run out of Anatum's: HIAS.

29 July 2013

Quote of the day, yay!

'Man proceeds in the fog. But when he looks back to judge people of the past, he sees no fog on their path. From his present, which was their faraway future, their path looks perfectly clear to him, good visibility all the way. Looking back, he sees the path, he sees the people proceeding, he sees their mistakes, but not the fog.'

-- Milan Kundera, 'Part Eight: Paths in the Fog', Testaments Betrayed: an Essay in Nine Parts, 1995 (trans. from the French by Linda Asher)

[The essay is available online at http://www.scribd.com/doc/46475877/Milan-Kundera-Testaments-Betrayed. Thanks to Judy Annear for making me aware of the quote.]

25 July 2013

2 cities, 1 night: Auckland and London

Friday 26 July 2013

Firstly, in Auckland, an exhibition titled Hermes' lack of words, curated by Alex Davidson, will open at Artspace from 6pm.

The show features artists:

Manon de Boer
Eleanor Cooper
William Hsu
Milli Jannides
Rosalind Nashashibi

Davidson writes in her introduction to the show:

"Can we ever be present in the past? Perhaps in moments: a scene glimpsed, a sound heard, a history felt, a story grasped. Yet we are always, invariably, brought back to the present by the present incessantly nagging at our shirt. The title of this exhibition imagines a short diversion from a story. Hermes, the figure who carried messages and stories between the world of the gods and the world of the mortals, and was protector of thieves, travelers, herdsmen, orators, wit, literature and poets, traveled the border between material and imagination. But in the diversion, which is the focus of this exhibition, Hermes is, for once, tongue-tied. Unable to describe something of the world from which he had come, his role is momentarily diverted. Within this diversion, the works of this exhibition form a study of memory’s inscription into matter, and of matter’s command over memory. Together they provide an exploration of diversions from the main picture, and of the ways in which the ‘stuff’ of material intervenes in memory and imagination at the same time as it clamps them together."

In addition there will be two 2pm Saturday artist talks:

3 August with Milli Jannides
31 August with William Hsu.

A publication with contributions by Evangeline Riddiford Graham, Milli Jannides, Emma Leach, Louise Menzies, Rosalind Nashashibi and William Pollard will be launched on 31 August at 3pm, also the last day of the exhibition.

This is the event: https://www.facebook.com/events/484421518314502/


Secondly, in London, Arcadia_Missa are launching the fourth issue of their journal How to Sleep Faster, in addition to celebrating the end of their current exhibition ETHIRA by Amalia Ulman.

Kicking off at 5pm, the closing-party-cum-launch will include musical sounds, a neighbourly barbecue, drinks and love! All is BYO and share.

The contributors to this issue of HTSF are:

Megan Kelly Rooney
Eleanor Ivory
William Kherbek
Hannah Black
Harry Sanderson
Georgina Miller
Paul Kneale
Candice Jacobs
Aimee Heinemann
Ann Hirsch
Harry Burke
Rosa Aiello
John Bloomfield
Maja Malou Lyse (Boothbitch)
Holly White
Martina Miholich
Felix Petty
Huw Lemmey
Rachel Schofield Owen
Charlie Woolley
Jesse Darling

Be sure to grab a copy or order online, it's full of gems. And don't forget to download ETHIRA (if you use iPhone or iPad) for FREE by clicking:

This is the event: https://www.facebook.com/events/340959622703156/

22 July 2013

.HSD images

A project I have been working on titled Hyper Spectral Display (.HSD) launched on 28 June 2013 at 55 Sydenham Rd Marrickville NSW 2204 AU.

It is an exhibition featuring works by Adam Cruces, Amalia Ulman, Clara Chon, Jack L. Dunbar, Joe Hamilton, Matthew Linde, Megan Hanson and Oliver van der Lugt.

It will also be a PDF publication titled .HSDPDF featuring contributions by the artists as well as texts by Giselle Stanborough, Holly Childs, Kailana Sommer and Rozsa Farkas, with design by Nadia Hernandez (more on that later).

There is also an .HSD Tumblr, which you can follow by clicking: hyperspectraldisplay.tumblr.com.

Install pictures of the show, and the opening night performance can be found at this link:


These are some pictures that you won't find on the above link:

Matthew Linde, I interned for J. Crew 2013. Background (L to R) Adam Cruces and Megan Hanson. Photo: Joe Hamilton.

Clara Chon bag modeled by Oliver van der Lugt. Photo: Clara Chon.

Joe Hamilton, Untitled Triptych (Panels 1-3) 2012-13. Photo: Joe Hamilton.

Jack L. Dunbar, Magical Aftermath of Optimised Real-Life Sharing 2013. Photo: Jack L. Dunbar.

L to R: Adam Cruces, Still Life with Bags 2013, Megan Hanson, (...so are the days of our lives) 2013. Photo: Eleanor Ivory.

Jack L. Dunbar, Optimised Real-Life Sharing 2013. Photo: Jack L. Dunbar.

Rowan Oliver modeling for Matthew Linde at opening. Background Amalia Ulman, Epic Bitter Swirls 2013. Photo: Joe Hamilton.

1 July 2013

Quote of the day, yay!

"There's a contradiction on the right in this tendency to both ideologically propose one kind of traditional bourgeois-style family while at the same time undermining its conditions of possibility through neoliberal state policy and so on.


This is one of the promises of one strand of communist thought – that a different social organisation could bring into being a form of life that will enable us to bear the irrevocable disaster of our unhappiness, that it will give credence to our striving for happiness, that it will generalize the heroic and disperse it into everyday life, although I am myself generalizing hopelessly here. These inaccurate conflations are always happening at the level of the individual, so that for one person the detonation of a series of bombs on public transport is bound up with the start of a relationship, or for another the tail-end of the Cold War coincides with their father's death, and so on. How do these convergences become available to others? How do they become available to thought or to politics?


Mental illness may be the wrong framework in which to understand the depression and suicide of for example someone who has recently lost their job and can't foresee any way to continue living their life. Perhaps this so-called depression is not a pathological symptom but an accurate and proportionate reaction to real circumstances. What does the medical word 'depression' do to our understanding of that circumstance?


We could see from both points of view: that capitalism is misery and against misery we should aim our anarchic joy, OR that capitalism is enforced happiness and against this happiness we should raise our righteous misery.


We were alarmed by a tendency to replace class analysis with an analysis of misery, so that people who felt inexplicably burdened by the fact of their more or less bourgeois background would offer up examples of unhappy incidents in their lives as if this in itself proletarianized them. We wondered if it was politically meaningful that the rich are also unhappy, though we speculated that the rich may be, statistically speaking, less unhappy than the poor. We were aware that in conflating 'happiness' and 'mental health' we were running the risk of naturalizing not only one but two problematic concepts. We were aware that our way of speaking was in some ways self-pathologizing."

-- Hannah Black, 'On post-Fordism and mental health', talk for Auto Italia's Immaterial Labour Isn't Working project, 4 May 2013

20 June 2013

Internet, art, etc.

Having recently started getting into Tumblr (see here, yeah!) for an exposition I am working on, I am suddenly painfully, light-bulbingly aware of the retrograde status of Blogspot - OMG! Blogger in general, really, but notably my present brand of not-updated-since-2006/html-no-endless-scroll-(thankgod)-hard-core Blogspot. Version 2006!

That is literally like 1/3 of the Internet's life ago. That's like saying to a 19 year old, you were cooler/I liked you better when you were 12. It actually could be true in both cases. Some people peak at 12 years old and it's all down-hill from there. And it's actually really possible that the Internet was cooler/better 7 years ago, at least there was less surveillance and marketing and crap.

Yet, the Internet is so whatever now you can hardly refer to it as 'cool' - it's just total. Totalitarian, maybe, or getting there, but certainly total. In the sense of not being a point of difference to the everyday, i.e. a hobby, but rather totally integrated, i.e. the everyday itself, etc. In the sense also of post-Internet, as explained by Artie Vierkant, largely in relation to art, in his essay 'The Image Object Post-Internet' (2010), which is important reading. It gives a good sense of the Internet's status in 2010 and how art must be understood in relation to it (Brad Troemel's 2012 talk 'Art After Social Media' is also important in this respect). By the way, both of these theses must naturally be extrapolated for 2013, and so on; the rapidity of updates and transformations in this domain continues to overtake traditional human modes of charting social progress (like essays and weblogs, for example).

Anyway, my point is, I am hideously out-of-date, -touch, -sync, and I didn't fully realise it, because I thought I was making a 'choice' (lol). However, choice is only real if you actually know your options. I never knew what they were because I just kept using what I (thought I) already knew: Blogger (which, of course, can be swapped for any other go-to web platform - or anything else period, if we extend the point - and the argument remains valid). This is just another form of ignorance, largely self-imposed (though there are distal powers at work, too), as well as lazy and fearful at base. This self- and systemically-maintained ignorance is precisely that which must be fought against as we embark ever further into the Internet-as-world totality.

We must remember how to question the platforms we use, why we use them, how and with whom, for what purpose. Know the alternatives, and question them, too. Learn as much as possible. So then there really is at least some level of choice as to our engagement with the online (as if there is ever an 'offline' these days!).

I don't pretend for a second that Tumblr is any better than Blogger - that would be ridiculous, they are just different. I think it's important to take note of that difference and not forget what it means. In general, we should aim not to forget the enormous evolutions within the history of the Internet, although amnesia seems increasingly coded into the system itself. Remember: Facebook wasn't always as it is and won't remain as it is, nothing lasts forever, lest we forget. The Internet has developed enormously in the last six or seven years, yet I remain somehow nostalgically fond of my now-anachronistic form of 'blogging' - how quaint to actually write something longer than 140 characters or post something once, uniquely, instead of 'gramming a pic across five different platforms instantaneously ("reblog" - I never knew the extent of what this means until recently!).

So, in the name of embracing change and making 'informed choices' (which are the only kind of real choices), I want to alert you to four art exhibitions opening in the next week in four different cities that are worth 'following' and looking into, and are not totally irrelevant to the topic of choice and the Internet. It should be noted I am doing this on Blogspot, not Tumblr or anything else. I like to think of that as a very specific decision.

1) Friday 21 June 2013 @ 18.00: Chill Spree, curated by Henry Davidson at Dog Park in Christchurch, with Claire Mahoney, Oscar Enberg, Ben Clement, Jack Hadley, PBPR. Event!

2) Tuesday 25 June 2013 @ 18.00: Institute Bianche, curated by Harry Burke at Library + in London, with Eva & Franco Mattes, Paule Kneale, Miami Dutch, Julia Tcharfas, Bunny Rogers. Event!

3) Thursday 27 June 2013 @ 18.00: Dusty at Gloria Knight in Auckland, with Juliet Carpenter, Alex Laurie, Evangeline Riddiford Graham. Event!

4) Friday 28 June 2013 @ 18.00: Hyper Spectral Display (.HSD), curated by Eleanor Ivory at 55 Sydenham Rd Marrickville NSW 2204 AU in Sydney, with Adam Cruces, Amalia Ulman, Clara Chon, Jack L. Dunbar, Joe Hamilton, Matthew Linde, Megan Hanson, Oliver van der Lugt. Event!

7 June 2013

Quote of the day, yay!

'The more Mitchell read about religions, the world religions in general and Christianity in particular, the more he realized that the mystics were all saying the same thing. Enlightenment came from the extinction of desire. Desire didn't bring fulfillment but only temporary satiety until the next temptation came along. And that was only if you were lucky enough to get what you wanted. If you didn't, you spent your life in unrequited longing.'

-- Jeffrey Eugenides, The Marriage Plot, Fourth Estate 2011, p. 160

6 June 2013

Hyper Spectral Display (.HSD) tumblr

I am currently working on a project called Hyper Spectral Display, the exposition component of which will open at 55 Sydenham Rd on Friday 28 June 2013 and run through Sunday 14 July 2013.

More information to come, but meantime here is the tumblr I created:


Please 'follow' me if you fancy, or stay tuned here for more updates on the .HSD exposition and PDF.

31 May 2013

2 Tasman shows: Zac Langdon-Pole (NZ) & Yasmin Smith (AU)

Exhibitions on either side of the Tasman open/ed this week by two young artists working in ceramic and painting respectively. Both Yasmin Smith and Zac Langdon-Pole extend what their chosen media might mean, and the parameters allowed by the classifications they have chosen to work within. For Yasmin, the often large-scale, tough and rugged-looking forms her artworks take, along with their subtle mimicry of 'reality', betray their incredible fragility, materially speaking. Whereas Zac's work exists on a trajectory of expanded painting, without the artist necessarily needing to employ a brush. Instead, found, worn or faded fabrics are stretched, or even amateur paintings reversed and restretched anew to reveal the mysterious underside of otherwise non-event applications of paint.


In Sydney, Yasmin Smith's solo show 'Stone Skin' opens at The Commercial tonight, Friday 31 May 2013, from 18:00. The show runs through Sunday 23 June 2013 and is a must-visit if you're in town - or a must-browse if you're not (via The Commercial's online gallery)!

The press release goes:

'Smith works in ceramic, producing figurative sculptures and monumentally-scaled installations. She imitates the industrial, often weathered or corroded objects around her in fired terracotta and other earthenware giving particular attention to glazes and patinas as a representational palette. Her work has a deceptively robust physical presence relative to its actual fragility. Stone Skin, Smith’s first solo exhibition in a commercial gallery, comprises a number of ceramic assemblages that occupy a space between still life, architecture and landscape.'


In Auckland, Zac Langdon-Pole's third solo show at Michael Lett, 'Pale Ideas', opened on Wednesday 29 May 2013 and continues through Saturday 3 August 2013. Another must-visit or -browse (here) show.

The press release goes:

'Occupying the smaller room at the back of the gallery, Langdon-Pole will present an evolving show of new work. The exhibition will include a range of paintings, some re-stretched inside out, some not. Curtains that bear the residue and sunburn of many years hanging in front of windows and doorways have also been stretched flat, creating concrete, tautological images of compressed time. Curious arrangements of leaves may be also found around the gallery floors. While at first glance these may appear just like leaves blown into the gallery, certain clusters are in fact mimicked in the exact arrangement elsewhere within the building.'

29 May 2013

Review of 'Queering Making II' at Abadi Art Space for frieze

I wrote a review about 'Queering Making II' for frieze Issue 155, May 2013. The exhibition was the second part of the 'Queering Making' project, which was held at different times across two separate galleries in Delhi, running 24 November 2012 through 23 February 2013 in total. Part II was held at Abadi Art Space, which I visited in early February this year.

Click the link below to read the text online (if registered), or the image to enlarge my scan:


Thanks to Jennifer Higgie.

20 May 2013

Asta Meldal Lynge @ Luce Gallery

Artist Asta Meldal Lynge's first solo show is opening at Luce Gallery in Torino, Italy tomorrow, Tuesday 21 May 2013 at 18.30.

For those in town or passing through, I highly recommend visiting Luce to see Asta's work. She works predominantly with moving image, but also makes gestural, often primary-coloured collage and installations. Her visually and aurally stunning video work Lobbies (2012) - the Danmark-born artist's graduate work at Central Saint Martins College in London - premiered at Copenhagen International Documentary Film Festival, and has subsequently been exhibited in Sydney and New York City.

This exhibition, Asta's first in Italy, runs through Friday 12 July 2013 and will include a new video work titled Camera Shake (2013), which, as the press release explains "encompasses a sequence of recordings of different facades and buildings but the camera is violently shaken and this distorts the image which is then somewhat restored in the editing of the video; here Asta re-positions every single frame (25 fps) in an attempt to sustain a still shot of the subject, independent of the initial composition of the original frame of the video. The video-image appearing in Camera Shake fluctuates between surface-abstraction and object-representation, revealing the edge of the video-frame ..."

Camera Shake furthers Asta's sustained interest in architectural forms, spatial configuration and particularly the experience of these physical and social structures as images (as in Lobbies and an earlier work Gordon House (Lights) (2010), among others). In addition to her new video, Asta will show a wall of works installed on sheetrock/drywall. The press release suggests of the latter work:

"The installation is at once image and wall, autonomous and self-contained in its dismissal of the existing architecture of the gallery. Ruminating on the system of display, this intervention presents itself as part of a greater system of images."

The press release further describes: "The conditions of the frame (be that one from a video or an actual physical boundary) allow the materials of the works and their inherent metaphorical abilities to be formalized, thus offering a view into our understanding of images as well as technological acuity in obtaining visible impressions."

A must-see show if you can! If you're visiting Venezia for that other big art event, why not consider driving or taking the train to Torino for this and other great galleries in the city? It will be worth it.

For more information, visit astalynge.info or lucegallery.com.

17 May 2013

Quote of the day, yay!

'The traditional idea of the subject is that he is the master of the world: a bourgeois enlightenment subjectivity which is detached and able to judge phenomena. This is a brutally abbreviated traditional idea of the subject. But the subject is also something that is always subjected and defined by modes of subjection rather than subjectification. Any subject is always in this tension. But I think that in this globalisation/digitalisation/emergence of post-Fordist conditions of labour, the order to subjectify constantly and to produce yourself as a subject is stronger than ever. You have to consume all the time to become a subject. You have to construct your subjectivity by social media and so on. It’s basically a full-time job to produce yourself as a subject.

Simultaneously so many emancipatory movements have always claimed this position of subject. Everyone wanted to be a subject. It is fair enough and there is a reason for that. On the other hand, just giving up trying to become a subject and trying to ally with other participants in the social sphere such as inanimate objects, or processes of production, or data protocols seems at the moment more interesting. I’m just following up on things that people have said since the ’20s. My initial cue comes from several texts by Walter Benjamin on mimesis and affinity and of course in recent decades many, many people have started thinking about objects and the forces inherent in objects. I’m just trying to apply this to my practice, and also to find different ways of relating to the world rather than becoming a subject.'

-- Hito Steyerl, interviewed by Andrey Shental, 'In the Junkyard of Wrecked Fictions', Mute, 14 May 2013

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