9 December 2014

(networked) Every Whisper is a Crash on My Ears Anthology

Launched all the way back in July, finally I'm getting around to mentioning Arcadia Missa's huge and amazing second anthology, (networked) Every Whisper is a Crash on My Ears (2014)!

The Anthology collects together exhibition texts, posters and other archival material; documentation of the exhibitions and art works produced as part of them; poetry commissioned or selected for the programme; interviews and commissioned essays; re-published essays and extracts from longer works of fiction.

(networked) Every Whisper is A Crash on my Ears consisted of five exhibitions: Dora Budor & Maja Cule - Dear D+M; Amalia Ulman - ETHIRA; Holly White & Megan Rooney - Ocean Living-The Skyscraper in the Sea; Harry Sanderson - Unified Fabric; Bunny Rogers, Jill Magid, Jasper Spicero, Emma Talbot - Random House.

The programme was concerned with the art-work as representation of subjective experience (the political of the personal) within the intersecting conceptual frameworks defining art ‘after’ the network.

I wrote a text for Harry Sanderson's 2013 exhibition 'Unified Fabric', which has been reprinted in the anthology (pp. 173-79) alongside a phenomenal list of artists' and writers' contributions.

Highlights include Asta Meldal Lynge's 'DSEI 2013 Arms Fair', Elvia Wilk's essay 'Where looks don't matter and only the best writers get laid: Subjectivity and other unfulfilled promises of the text-based internet', Huw Lemmey's novella extract '#nodads', Michael Runyan's '"Life in the data centre doesn't stop ... when you live your life"', Daniel Rourke's interviews with both Dora Budor and Maja Cule, Dr Cadence Kinsey with Amalia Ulman, Jacob Steinberg's poetry for publishing-house.me.

But that's just a few, you can see full list of contributors below. This publication is so phat and full of meaty content, it is definitely worth spending the measly £15.99. Seriously good Christmas present. Arcadia Missa ship worldwide, but you can also find Every Whisper at bookshops, including: ICA, South London Gallery, Art Words and Tank TV in London, Archive Kabinett in Berlin, McNally Jackson and Spoonbill and Sugartown in New York, and Section 7 in Paris.

To read a great review of the Anthology written by Jean Kay for aqnb, click here: http://www.aqnb.com/2014/09/26/networked-every-whisper-is-a-crash-on-my-ears-reviewed/

To order online, click here: http://arcadiamissa.tictail.com/product/every-whisper-anthology

Every Whisper Anthology, 2014
Arcadia Missa Publications (eds. Tom Clark & Rózsa Farkas)
ISBN 9780992674724
318 pages, 250 x 176 x 27 mm


Alex Mackin Dolan
Amalia Ulman
Anton Cassandra Cesar Gamalinda Gillig
Asta Meldal Lynge
Bunny Rogers
Cadence Kinsey
Clunie Reid
Daniel Rourke
Deanna Havas
Dora Budor
Eileen Myles
Eleanor Ivory Weber
Eloïse Bonneviot
Elvia Wilk
Emma Talbot
Gabby Bess
Ge Jin
Guillermo Ruiz de Loizaga
Harry Burke
Harry Sanderson
Hito Steyerl
Holly Childs
Holly White
Huw Lemmey
Jacob Steinberg
Jasper Spicero
Jill Magid
Joe Waller
Luna Miguel
Maja Cule
Marina Vishmidt & Neil Gray
Matthew Luther
Megan Rooney
Melika Ngombe Kolongo & Daniella Russo
Michael Runyan
Petra Cortright
Rachel Lord
Rózsa Farkas
Sophie Collins
Stephen Michael McDowell
Takeshi Shiomitsu
Vera Tollmann
William Kherbek

23 November 2014

Quote of the day, yay!

'Thank you Neil, and to the givers of this beautiful reward, my thanks from the heart. My family, my agent, editors, know that my being here is their doing as well as mine, and that the beautiful reward is theirs as much as mine. And I rejoice at accepting it for, and sharing it with, all the writers who were excluded from literature for so long, my fellow authors of fantasy and science fiction — writers of the imagination, who for the last 50 years watched the beautiful rewards go to the so-called realists.

I think hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine some real grounds for hope. We will need writers who can remember freedom. Poets, visionaries — the realists of a larger reality.

Right now, I think we need writers who know the difference between the production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximize corporate profit and advertising revenue is not quite the same thing as responsible book publishing or authorship. (Thank you, brave applauders.)

Yet I see sales departments given control over editorial; I see my own publishers in a silly panic of ignorance and greed, charging public libraries for an ebook six or seven times more than they charge customers. We just saw a profiteer try to punish a publisher for disobedience and writers threatened by corporate fatwa, and I see a lot of us, the producers who write the books, and make the books, accepting this. Letting commodity profiteers sell us like deodorant, and tell us what to publish and what to write. (Well, I love you too, darling.)

Books, you know, they’re not just commodities. The profit motive often is in conflict with the aims of art. We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art — the art of words.

I have had a long career and a good one. In good company. Now here, at the end of it, I really don’t want to watch American literature get sold down the river. We who live by writing and publishing want — and should demand — our fair share of the proceeds. But the name of our beautiful reward is not profit. It’s name is freedom.

Thank you.'

-- Ursula K Le Guin, acceptance speech, National Book Foundation Medal for Distinguished Contribution to American Letters, 65th National Book Awards, 19 November 2014 (transcribed by Parker Higgins here).

8 November 2014

One of 'the best group shows of 2013', says O Fluxo!

I didn't mention it at the time, probably because I was slightly embarrassed, but last year a show I curated called Hyper Spectral Display (.hsd) was selected by O Fluxo as one of their 'best group shows of 2013'!

As arbitrary as they are, it's still fun to win a prize! (By the way, for some recent thoughts on prizes, click here.)

And we were in good company, which you can see via the snazzy pics and links here: http://www.ofluxo.net/the-best-group-shows-of-2013

For more info on Hyper Spectral Display (.hsd), see the Tumblr, SoundCloud, edited catalogue titled .hsdpdf, or blog post.

Thank you to Nuno Patrício.

2 November 2014

Quote of the day, yay!

'At the heart of New Realism is the rejection of human existence as privileged over nonhuman objects. This model rejects human embodiment or body-based subjectivity - what Speculative Realist Quentin Meillassoux, for example, calls 'correlationism,' or the human-centric view of the world. Multiple identity discourse and its non-rational qualities are Over. Post-Cartesian conceptions of space are dismissed. Subjectivity, a male (post-internet) artist once told me, is for art students.

Objective/subjective is one of the central philosophical tensions throughout history. Their definitions have been constructed and deconstructed in all possible ways. Explicit shifts in philosophy are expected and fine: no moral judgment on progress. But the pendulum often swings too far in one direction, obscuring its own implicit aims, and obscuring the very attitude it is swinging away from. Before plunging waist-deep back into the Real, we should probably recall that certain kinds of realism are historically male.

New realism's rejection of subjectivity as such has the potential to be extremely... regressive. Its hypotheses lean on a lot of old realism - back to Heidegger, Kant, and Descartes - while largely skipping over theorists from a certain very recent yet inconvenient era. While debates about cyberculture were relatively explicit about the political effects of their philosophy on lived bodily experience, including issues of gender, New Realism is not. Has the human body become irrelevant, or is the topic generally avoided because it might expose New Realism's uncomfortable political side effects? Is it really incidental that mostly men are writing this stuff? If I were to believe that, I'd have to believe a priori in the premise that subjectivity is irrelevant. I'd also have to believe that cyberculture had succeeded in creating a post-gender world.'

-- Elvia Wilk, 'Where looks don't matter and only the best writers get laid: Subjectivity and other unfulfilled promises of the text-based internet', (networked) Every Whisper is a Crash on my Ears Anthology (ed. Arcadia Missa), Arcadia Missa Publications, London 2014, pp. 38-39

15 October 2014

Review of 'SHIFT' @ Galerie Antoine Levi

I wrote a review of a group exhibition titled 'SHIFT', held at Galerie Antoine Levi, Paris, from 3 July - 12 September 2014, and featuring the work of France Fiction, Richard Frater, Francesco Gennari, Piotr Makowski, Aude Pariset, Ola Vasiljeva, and Emma Ilija Wyller.

If you're registered to frieze's website, you can read it here: http://www.frieze.com/issue/review/shift/

Otherwise, grab a copy of Issue 166, October 2014, it's on page 278-279 (in between reviews of David Lamelas at Jan Mot, Brussels, and of Laura Lamiel at Marcelle Alix, Paris)!

Thanks to Jennifer, as always.

10 October 2014

Trust Exercise @ Breezeblock, Sydney

This weekend is the last chance to see Trust Exercise, a group show curated by artist Z.O'Mahoney that I was invited to take part in alongside a whole bunch of my favourite Sydney souls.

Hosted by the project space Breezeblock, the show closes this Sunday 12 October 2014. It includes works by Australian artists:

Bonita Bub
Mitchel Cumming
Georgia Emslie
Brian Fuata
Susan Gibb
Andrew Haining
Elliot Hughes
Talitha Klevjer
Cara Stewart
Eleanor Weber

Press release:

"We were raised that maybe we should die in our own name to serve the market, and lived in each other, taking ownership of everything and nothing...

I am still quite unwell. I have been hoping to get it together to say what I needed to say before now, presuming there is anything left to say at all. I suppose it works out for the best that I am in some kind of state and am left reliant on my friends to convey what it was I was sort of unsuccessfully trying to get at... that I was trying to put this together as a shared enterprise, to facilitate things happening as well as contributing my own ideas, because I love this life that I share. I love that so many nights are taken up going to look at things and talk to people who put things into the world usually at a cost - both financially, and in the acceptance that regardless of the calibre of the work they will be judged harshly by some; knowing that they are unlikely to ever profit by choosing this path, or mode of being. At best, what we have is what we share and it is something beyond anything that could be measured in monetary terms or defined by any self-interested theory of value (citing status). Every person I have involved in this exhibition has my trust, my respect and my love. The people exhibiting in this exhibition are people that have shared things with me... too much wine... or sent me emails about things I might like... or mixtapes... they've shared knowledge and ideas that were exciting and interesting to me. I am grateful to have the opportunity through Sean (Breezeblock) to be able to in turn facilitate passing some of that on... that's really all I have to answer for a curatorial statement.

I would love it if you would join us.

Zoe (O'Mahoney/Robertson)"

My contribution to the show was a text in the form of a script to be performed on the night of the opening, Saturday 20 September 2014, by three of the artists (Andrew, Brian and Zoe). The script was written with these three friends in mind, and the characters were named after them (A, B and Z). Although this personal side was very important, I also wanted the text to be quite detached in tone, and general; the characters are interchangeable and theoretically anyone could play them. That said, the text wouldn't exist without my relationships with Andrew, Brian and Zoe. I trusted them, and I liked the idea of a writer becoming physically present through multiple (loved) bodies projecting words that exist only because those relationships do.

A Trust Exercise zine was published, which includes the script in hard copy. Otherwise, you can read and download it by clicking here: https://www.scribd.com/doc/242084812/Trust-Exercise-rats.

Pictures of the performance (thanks to Sean Rafferty):

Many thanks to Zoe for inviting me, and to she, Brian and Andrew for performing!

EDIT: Watch this fantastic video titled 'Roll Credits' made by Mitchel Cumming to cap it all off!

7 October 2014

Quote(s) of the day, yay!


-- Silvia Federici & Nicole Cox, 'Counterplanning from the kitchen' (1975), in Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle, PM Press 2012



-- Kathy Acker, Dead Doll Humility, Postmodern Culture, vol. 1, no. 1 (September 1990)

Thanks to Amelia Groom for the Acker link.

22 September 2014

Text for Elena Betros @ West Space, Melbourne

Recommended viewing: Melbourne-based artist Elena Betros currently has a solo show at the fantastic Melbourne institution West Space. Titled 'The performance of an act by someone who could have done otherwise', the exhibition runs through 4 October 2014.

I wrote a text in parallel to Elena's show, which has been printed on A4 tracing paper and can be collected in the exhibition space. Ideally, this should be read with the exhibition, but for those not in Melbourne, you can download here.

Elena will be doing an artist talk, where she will read from Simone de Beauvoir's The Mandarins, on Thursday 2 October 2014 from 5:30-6:30pm.

For more info and install shots, visit: http://westspace.org.au/event/the-performance-of-an-act-by-someone-who-could-have-done-otherwise/.

I am very interested to hear any feedback from those who may have read the text! Thanks to the artist for giving me the chance to experiment with the writing.

7 September 2014

Mary Teague review in frieze

I wrote a review of Australian artist Mary Teague's exhibition 'Language of Art', which took place at The Commercial Gallery, Sydney, from 9 May - 7 June 2014.

If you're registered to frieze's website, you can read it here: http://www.frieze.com/issue/review/mary-teague/

Otherwise, grab a copy of Issue 165, September 2014, it's on page 162 (next to a review of Damiano Bertoli's great recent exhibition at Neon Parc, Melbourne)!

Thanks a lot to Jennifer.

5 September 2014

un Magazine 8.1

The latest issue of Australian art magazine un launched in Melbourne on 6 August 2014 at Gerturde Contemporary.

I contributed a redacted version of a text written for GOB festival earlier this year in Sydney, it was accompanied by an introduction by artist Benjamin Forster (co-editor of un volume 8 with curator Robert Cook).

The editorial of this experimental issue of un placed two strict parameters on its contributors: no images and no proper nouns. In my text, titled 'None of this is', all proper nouns were 'blacked' out - censored, if you will. Click on the picture below for a preview.

Author names are listed separately in the centre pages of the staple-spined magazine, accompanied by a list of the removed proper nouns, if relevant. The opening words of each of the contributions are listed on the back cover as a contents list with no author names. In addition, this issue of the magazine evades reading conventions in terms of page-order and orientation.

This changes everything, from how we must hold the magazine and flick through it, to the idea of texts as linear compositions. In fact, the editors actually encourage us to physically take the whole thing apart! With text colour and formatting altering throughout, and no images to distract from the wordliness of writing, the result of un 8.1 is a unique reading experience. Props to editors Cook and Forster for following through with what must have ruffled some die-hard feathers, and to designer Brad Haylock for making it work!

Contributors include: Uri Auerbach & David Hollier, Elizabeth Chang, Sean Dockray, Anna Dunhill, George Egerton-Warburton, David Finnigan, Laura Hindmarsh, Adam Jasper, Kym Lenoble, Aodhan Madden & Nicolas Mejia, Elizabeth Pearce & David Walsh, John Pagnozzi, Isobel Parker Philip, Simon Pericich, Bree Richards, Megan Robson, Kailana Sommer, Eloise Sweetman, Té (Andrew Brooks & Kynan Tan), Linda Marie Walker, Gemma Watson, Malcolm Whittaker.

Un is available for FREE in arts organisations throughout Australia (Melbourne, Sydney, Adelaide, Hobart, Brisbane, Perth, Canberra and Darwin), as well as internationally (Leipzig, Hong Kong, Christchurch, New York City, Berlin, Los Angeles and Paris).

See unprojects.org.au for more infos - or get your hands on a copy!

2 September 2014

Quote of the day, yay!

'And all the while, everywhere around us, we stupidly continue to die of love, we continue to commit suicide because we fall prey to all that resists love, we continue to die (or sometimes to survive, but as if we were dead), because the abject desire to be loved runs idle.'

-- Guy Hocquenghem (trans. Noura Wedell), The Screwball Asses, Semiotext(e) 2009, p. 43 [originally written in 1972]

23 August 2014

Centre for Style @ Mathew, Berlin

Just one week left to catch Centre for Style (CfS) at Mathew gallery in Berlin!

'Bouvier's Bedroom: Centre for Style Highlights at Mathew' opened Thursday 14 August and runs through Friday 29 August 2014. The gallery is open Wednesday to Saturday, 13-18h. As the press release describes:

'Bouvier's Bedroom is the dilapidated walk-in wardrobe of a fictional aged socialite. Centre for Style (Highlights) presents a selection of new works by eight designers, renovating Mathew into the forgotten change-room of Ms. Bouvier.'

This must-see show, curated by CfS/Matthew Linde, features work by:

Eckhaus Latta
H.B. Peace
Jessie Kiely
Laura Fanning
Martine Rose
Nhu Duong
Rare Candy
+ a work by Thomas Jeppe as part of the CfS 'Vogue Living' display

In addition, there was an opening night performance by Anna-Sophie Berger with Matthew Linde

The show is a fabulous array of collaborative experimental fashion practices displayed as a quasi-lounge-bedroom, like a bomb hit it, room. Flashbacks from the '90s and some of your grandmother's glassware with décor to match a middle-class aspirational fake-gold, almost-there patio terrace. Comfortable, slightly awkward, borderline precious. It's a wonderful taste of Melbourne's epic Centre for Style, in Berlin.

Go there, Madam.

8 August 2014

Quote of the day, yay!

'By killing the "angel in the house," the feminist movements destabilized the welfare state and revived the political figure of the witch. Who were the witches? The archetype of rebellion in every framework, witches were sages, doctors, practitioners of other knowledges who could no longer find a place in the redistribution of knowledge that scientific positivism brought about. Witches were women without husbands who refused marriage, figures of a sexuality that resisted normalization, a sexuality that did not find its goal in procreation, but in a non-productive, deviant sexuality.

Witches were also figures of homosexuality, of nomadic sexuality. As Michela Zucca has noted, they also represented "the cardinal element of continuity, the charismatic leaders and spokespeople of a society and culture that were essentially anti-productive, in the capitalist sense of the term". The persecution of witches, as Starhawk demonstrates, is linked to three interlocking processes: "the expropriation of land and natural resources; the expropriation of knowledge, and the war against the consciousness of immanence". She adds, "Western culture bases its ethics and its justice on the stories of estrangement ... The ethics of immanence encourage diversity rather than sameness in human endeavors, and within the biological community".

If the enclosure of communal land compels those who had lost their source of independent living to submit to wage relations and thus to construct the history of western economy over the past several centuries, then the persecution of the witches is a war on immanence. "If twentieth-century barbarism is not the same as the barbarism of the fifteenth and sixteenth centuries," writes Esther Cohen, "their common origin is beyond doubt: both cases involve a 'violent' allergic reaction to radical alterity, a negation of the other as absolutely other, who is called Jew, witch, woman, black, or native".'

-- Antonella Corsani, 'Beyond the Myth of Woman: The Becoming-Transfeminist of (Post-)Marxism', Substance, Vol. 36, No. 1, Issue 112: Italian Post-Workerist Thought (2007), University of Wisconsin Press, pp. 122-23 (trans. Timothy S. Murphy)

7 August 2014

Journal de l’Université d’été de la Bibliothèque Kandinsky

I contributed to a journal edited by participants of the Université d'été held from 2-10 July 2014 at the Centre Pompidou, Paris. The publication is available for free in the exhibition 'Magiciens de la terre, retour sur une exposition légendaire' (curated by Stéphanie Rivoire et Didier Schulmann), on now through 15 September 2014 at the Pompidou.

The Université d'été was open to doctoral and post-doctoral students as well as independent curators, who were invited to revisit the 1989 exhibition 'Magiciens de la terre' (curated by Jean-Hubert Martin). This occurred via a series of lectures, seminars, workshops and by accessing and researching into the exhibition's archives, held at the Bibliothèque Kandinsky.

I didn't participate in the summer university itself but was very fortunate that a friend who was participating, art historian Adam Jasper, invited me along to the library for a couple of days, where we had the opportunity to proceed through boxes of research material related to the controversial exhibition.

The result is a broadsheet, designed by Syndicat and published by Centre Pompidou (2014), with contributions from all 24 of the Université d'été participants (and some ring-ins like me) in the form of essays, interviews, facsimiles of archival material, poetry, speculation, etc.

To download my text, 'Tribu aborigène des WARLPIRI, Australie: Biennale de Sydney 1982 ?' please click the image below:

Many thanks to Adam Jasper, Mica Gherghescu, Didier Schulmann, Judy Annear, William Wright, and Susan Gibb for all their assistance.

I also pay my respects to the Lajamanu people of Warlpiri country and to their ancestors, past and present.

28 July 2014

Fashion Photography Next

A book I contributed to titled Fashion Photography Next by writer and curator Magdalene Keaney is finally out this month, published by Thames & Hudson! The book features 35 photographers from 14 different countries, spread across 272 pages with as many illustrations, 208 in colour.

Magdalene has written a brilliant extended essay to introduce the ideas behind the book. In addition, she or I have written an approximately 500 word text analysing the work of each photographer, and describing their background and working methods.

I have written pieces about Baker & Evans (bag below), Kasia Bobula, Timur Celikdag, Jonathan Hallam (woman above), Samuel Hodge (install shot below), Chad Moore, Hanna Putz (birds below), Dennis Schoenberg, Saga Sig, Philippe Vogelenzang, Chardchakaj Waikawee (punk below), and Ruvan Wijesooriya.

The other amazing photographers included in the book are Mel Bles, Charlie Engman, Jermaine Francis, Boo George, Jamie Hawkesworth, Alice Hawkins, Erik Madigan Heck, Julia Hetta, Axel Hoedt, Laetitia Hotte, Daniel Jackson, Bruna Kazinoti, Immo Klink, Tyrone Lebon, Joss McKinley, Laetitia Negre, Daniel Riera, Robi Rodriguez, Daniel Sannwald, Clare Shilland, Jacob Sutton, Tung Walsh, and Harley Weir.

Fashion Photography Next retails for £24.95 (ISBN 9780500544358). For more information or to order, visit: thamesandhudson.com/Fashion_Photography_Next/9780500544358

Parallel to the book, there is an exhibition curated by Magdalene Keaney. 'Don't Stop Now: Fashion Photography Next' opened on Thursday 10 July 2014 at Foam, Amsterdam, where it runs through 7 September 2014 (more info here). The exhibition will travel to London's Fashion Space Gallery in the autumn.

Quote of the day, yay!

Let me not to the marriage of true minds
Admit impediments; love is not love
Which alters when it alteration finds
Or bends with the remover to remove.
Oh no it is an ever fixed mark
That looks on tempests and is never shaken
It is the star to every wandering bark
Whose worth's unknown altho' his highth be taken.

-- Shakespeare's Sonnet 116, quoted in Jeanette Winterson, Written on the Body, Vintage, London 1993, p. 162

[Great interview with Winterson: radioopensource.org/jeanette-winterson-what-it-takes-in-life-and-letters]

17 July 2014

Classic Friendship Podcast #6

Very happily, I was invited by Rózsa Farkas to contribute to her guest curated episode of Classic Friendship podcast.

Episode #6 is titled 'The One With The Anger' and launched on Monday 7 July 2014. This episode comprises contributions from Huw Lemmey, Georgina Miller, Jaakko Pallasvuo and Vicki Tingle, plus Rózsa as host and musical excerpts by Nkisi (Melika Ngombe Kolongo).

There is also an accompanying PDF zine that Rózsa has produced using handwriting from her own notes and some quotes from my text. This can be downloaded by clicking here:

CF Ep06 The One With The Anger by Rózsa Farkas.pdf

Earlier this year, Rózsa curated the exhibition The Angry Show (which, incidentally, included a work by Melika Ngombe Kolongo, with Daniella Russo) at 55 Sydenham Rd Marrickville NSW 2204 AU. This show and the present podcast, amongst other productions, form part of an ongoing research into affect and anger that Rózsa has been undertaking. My contribution to the podcast is a re-performance of a text I wrote and performed in March 2014 for GOB festival, which I wrote about on this blog in May.

Lots of nice overlaps and replays; thanks so much to Rózsa for inviting me. Please take the time to have a listen, the podcast can be streamed and downloaded via the CF SoundCloud:

4 June 2014

Daphne - a record of a year through affection

Daphne is a record of a year (2013) through affection, edited by Catherine Borra.

Daphne includes texts by twelve contributors, each focused on one art work. These are:

Pio Abad on Adrian Wong

Catherine Borra on Lindsay Seers

Marina Doritis on Sharon Hayes

David Ferrando on Naheed Raza/Ed Atkins

Elea Himmelsbach on Merce Cunningham

Nicoletta Lambertucci on Enrico Baj

Adeena Mey on Stephen Prina

Emma Ines Panza on Curandi Katz

Sophie Risner on Laure Prouvost

Davide Savorani on Richard Mosse

Veronica Valentini on Beatriz Preciado

Eleanor Ivory Weber on Soda_Jerk

Daphne was published in 2014 by La Grande Fuite and designed by Woodoo Studio, Bergamo.

You can read the online version below on issuu, or enquire within to get hold of a hard copy.

Thanks a bunch to Catherine for inviting me to contribute and to Soda_Jerk for their beautiful work and support.

28 May 2014

Alicia Frankovich: Today This Technique Is the Other Way Around - catalogue launch and video screening

A book project I have been involved with is launching in Berlin this Thursday evening, 29 May 2014. Artist Alicia Frankovich's solo exhibition 'Today this Technique is the Other Way Around' was held at Kunstverein Hildesheim from 19 October through 1 December 2013 and this is the corresponding publication. Infos below:

Kunstverein Hildesheim, Argo Books and KuLe Theater are excited to invite you to the launch of Alicia Frankovich's Today This Technique Is the Other Way Around.

KuLe Theater
Auguststraße 10, Berlin

Thursday 29 May 2014

KuLe Theater is located on Auguststraße 10 in Mitte (opposite KW and near corner Tucholskystraße): map!

The catalogue will be available on site, and there will be two screenings of Frankovich's 20 minute video Today This Technique Is The Other Way Around (2013). The catalogue is published by Kunsverein Hildesheim and Argo Books, is 48 pages in colour, and includes texts by Kathrin Meyer and Eleanor Ivory Weber.

For those in Berlin, go to KuLe on Thursday!

Facebook event>>>

EDIT: ISBN 978-3-942700-55-9, preis: 12€ !


Auckland - Parsons Library Supply (books@parsons.co.nz), Auckland City Art Gallery
Melbourne - World Food Books
Berlin - Do you read me?, Archive Books
Hildesheim - Kunstverein Hildesheim

17 May 2014

GOB fest 2014

A couple of months ago I participated in a mini-festival called GOB, organised by Sydney artist and musician Matthew Philip Hopkins and held at 55 Sydenham Rd Marrickville NSW 2204 AU over two nights, 7-8 March 2014.

As Hopkins described it:

'GOB brings together a number of artists working with voice for two evenings of live performances. These artists will present works that draw from areas such as sound poetry, performative and theatrical actions, text/sound composition, and experimental music.

These works will examine the intrinsic relationship voice has with meaning, and clear communicative speech, considering ways in which this relationship can be deformed, mutated, and rendered unstable through various modes of performance.'

The artists involved were:

Friday 7 March-
Gob Choir (Lucy Phelan, Mary MacDougall, Jonathan Hochman, Matthew Hopkins, Anna John, Emma Ramsay)
Brian Fuata
Emma Ramsay
Exotic Dog

Saturday 8 March-
Eleanor Weber
Shane Haseman
Nik Kamvissis
Hard Hat
(Peter Blamey & Kusum Normoyle)

Watch excerpts from the performances here:

GOB - excerpts (Brian Fuata / Hard Hat / Eleanor Weber / Shane Haseman) from 55.

Dinner and drinks were served each night during intermission, courtesy of Lucy Phelan; post-performance party DJing courtesy of Lucy Cliche.

For these events, Matthew Hopkins also created the GOB sampler, an 8 track, 31 minute CD-R of audio works from those who performed. This was available at the show for a measly sum, and there are some still available! If you are interested in this recording, email Matthew to arrange receiving either the CD-R or digital files: matthewphiliphopkins[AT]gmail[DOT]com

Thanks so much to MPH for inviting me to be involved and to all the artists and everyone who came for making it such a swell event!

25 April 2014

2 good books, 2 good writers: Amelia Groom, Holly Childs

I have been meaning to mention for a while, these two recently released books by two Australian writers that are really great!

The first is Time: Documents of Contemporary Art, published by the Whitechapel Gallery and MIT Press, edited by Amelia Groom.

The book has been out since late September 2013 but officially launched at Whitechapel Gallery, London, on 27 February 2014. There, Amelia presented a lecture considering 'alternative readings of time in contemporary art, calling into question the way we think about history, change and the future', which parallels the editorial approach in the book itself. In the overview, she wonders:

'What does ‘contemporary’ actually mean? This is among the fundamental questions about the nature and politics of time that philosophers, artists and more recently curators have investigated over the past two decades. If clock time—a linear measurement that can be unified, followed and owned—is largely the invention of capitalist modernity and binds us to its strictures, how can we extricate ourselves and discover alternative possibilities of experiencing time?'

One might be surprised to learn that Whitechapel's highly successful 'Documents of Contemporary Art' series hadn't treated the seemingly obvious theme of 'time' before now, which I suppose reflects the slippery nature of the topic. However, Groom took on the challenge and has managed to wrangle 'time' into shape; or at least offers some very useful tools for shaping, as it were, our understanding of it.

These tools include texts by writers such as Giorgio Agamben, Geoffrey Batchen, Walter Benjamin, Franco Berardi, Georges Didi-Huberman, Brian Dillon, Elena Filipovic, Elizabeth Grosz, Adrian Heathfield, Bruno Latour, Michel Serres, Nato Thompson, and many more, and reflections on and/or by artists like Francis Alys, Paul Chan, Olafur Eliasson, Bea Fremderman, On Kawara, Joachim Koester, Christian Marclay, nova Milne, Katie Paterson, Raqs Media Collective, Hito Steyerl, Hiroshi Sugimoto, Tehching Hsieh, Mark von Schlegell, etc.

A very useful resource, and a pleasure! Check it out on The MIT Press' website: http://mitpress.mit.edu/books/time


The second I want to mention is a novella by Holly Childs titled No Limit, published by Hologram (a project by Express Media, Melbourne) in April 2014.

No Limit is set in Auckland, where a doomsday apocalyptic volcano fuels the cyber-psyche of a group of young people raving and raving mad. The city is full of ash and the characters seem to float from one less-than-impressed scenario to the next. Windows of light fill the hazy internet-high come down, but the dark depths (or shallows) of the 'scene' and the sense of disconnection from anything tangible are palpable throughout. As the smart, queer, trendy young characters wander aimlessly from hang to hang, party to party, wondering when the world will end, the reader is left wondering whether it ever really began.

Childs' first book is written in really snappy prose, which carries you along and is surprisingly successful at keeping one's eyes off the laptop or smartphone undoubtedly within arms reach. I'm sure the irony is not lost on Holly that while her characters speak in jargon and 'likes', constantly check their phones, post tweets, 'gram shit, she has released a good old book that one can hold and flick through and spill coffee on.

Like, so worth a read! To order No Limit visit: http://www.hologrambooks.com.au/nolimit

19 April 2014

HTRK's Psychic 9-5 Club

One of Australia's most compelling music duos working today, HTRK are launching their third studio album Psychic 9-5 Club with gigs in Melbourne (The Hi-Fi) and Sydney (Civic Underground).

This is highly recommended listening. With a much more electronic vibe now the guitar has been totally removed from HTRK's output, Psychic 9-5 Club pulses through you like a slow-release body relaxant, as the psyche drifts into dreamy meanderings. That said, none of HTRK's signature heavy bass has gone away; they haven't gone ambient. On the contrary. This is the antidote to 9-5 monotony, or it's the sound of what gives that life-mode its poetics: repetition, dull hum, routine, moments of rupture, rhythm, entrapment, a vicious cycle.

Most of the songs treat the theme of love in its myriad manifestations. Just some of the lyrics: 'This time, I'm gonna love you much better' (Give It Up), 'I'm in love with myself' (Wet Dream), 'all those flashlight diamonds / love is distraction' (Love Is Distraction), and titles such as 'Feels Like Love'.

The drug that pumps these veins seems to be that mystery hormone coursing flesh and innervating neural pathways in unpredictable ways; jittery, sober, calm, take the edge off, edgy. The psychic club is just the place where lovers recognise themeslves and other lovers as such; lovers above and beyond all else. Love is the vital elixir, but it's not always uplifting, and that's the point. Nonetheless, once you're in the club it's hard to leave. And why would you want to? The main hope is for some sort of psychic development concerning one's relationship to love itself; this takes time. But it seems to be what HTRK's latst album encourages. The soundtrack to the mundane romance and to the fleeting love all at once. They only exist together. 9-5. Club.

The sound to calm anxious souls, with production by Excepter's Nathan Corbin, members Nigel Lee-Yang and Jonnine Standish have created deep, lethargic, emotive electro for die-hard lovers.

You can purchase Psychic 9-5 Club in all good record stores, or via Mistletone mail order on CD and deluxe 180gm vinyl at: mistletone.net/shop/htrk

Tickets for the album launch shows are on sale NOW and the details are:

MELBOURNE Saturday 26 April 2014 @ The Hi-Fi w/ New War, Regional Curse, DJ Conrad Standish +infos

SYDNEY Saturday 10 May 2014 @ Civic Underground w/ Alba+Guerre, DJs Spiral Sounds, Dave Fernandes (HAHA/D&D) +infos

P.S. i-D did an interview with HTRK here: http://i-d.vice.com/en_gb/read/interviews/2308/australias-htrk-dont-actually-hate-rock

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.
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