28 July 2015

EFFE presents... Coup de coeur #1-5

EFFE's first series of exhibitions, titled Coup de coeur, occurred at a studio in the Cité internationale des Arts in Paris, France, from April through June 2015.

The five solo exhibitions were curated as discrete entities, each responsive to the individual artist's needs, yet they also formed the five integral parts to the project Coup de coeur. Once grouped as a series, moving across a predetermined period of my residency at the Cité, they started to inform and shape one another through a shared sensibility; through overlaps in thoughts, and friends who would attend and reattend; through the conversations and celebrations that would go on; a rhythm emerged.

To read the texts I wrote, and to see photo-documentation of the five exhibitions, please follow these links to the website:

#1 Asta Meldal Lynge / 21 - 23 April 2015



#2 Noémie Bablet - Shakkei / 15 - 22 May 2015



#3 Elena Betros - The room limits established by us / 26 - 31 May 2015



#4 Nuno da Luz - with Assisted Resonance / 18 - 21 June 2015




#5 Signe Frederiksen - Les Insoumuses / 28 June 2015




Many thanks to artists Asta Meldal Lynge, Noémie Bablet, Elena Betros, Nuno da Luz and Signe Frederiksen; to Ella Sutherland, website and flyer designer; to Sergiu Giani, castillo/corrales, A Constructed World (Geoffrey Lowe and Jacqueline Riva), ENSAPC, Ulrike Buck, Arthur Dreyfus, Ana David and Inga Krüger for providing materials; to photographers Frieder Haller, Romain Darnaud and Guillaume Vieira; to videographer Ana Vaz; to actors Peter Paltos, Pedro Gomes, Julia Perazzini and Anne Steffens; and to everyone who came to one or some or all Coup de coeurs!

Plus thanks Tula Plumi for posting us on Daily Lazy! For more information, contact effefe.net @ gmail . com!

10 July 2015

Yasmin Smith: Ntaria Fence @ The Commercial

I wrote the exhibition text for Yasmin Smith's latest solo show at The Commercial Gallery, Sydney. The show opens tonight and runs through Saturday 1 August 2015. Read the text below or download it here; see the show on Wednesdays to Saturdays; hear Smith present a talk about Ntaria Fence at 4pm on Saturday 25 July 2015.



‘Home is that place which enables and promotes varied and ever-changing perspectives, a place where one discovers new ways of seeing reality, frontiers of difference.’ [1]

Despite its title and undeniable resemblance to a human-made barrier for separating one thing from another, Yasmin Smith’s most recent work, Ntaria Fence, is a porous, flesh-like frontier. Fences can serve an array of metaphors for keeping things out, protecting oneself, ejecting the other, delimiting private property, preventing human or animal movement, and demarcating difference. Fences imply a duality of inside/outside, here/there, mine/not-mine, which derives largely from a colonial, bourgeois understanding of land, not to mention a Cartesian understanding of the self. Ntaria Fence could easily be viewed from this perspective; as an exploration of the sense of conceptual and actual distance one feels, for example, between coastal city centres like Sydney and remote locations like Ntaria, 130 kilometres west of Alice Springs in the Central Desert region of the Northern Territory.

Yet dislocation and separation are far from what pushes Smith to create this specific fence. Her motives are not conceptual but physical. When something is porous it means it absorbs and thus changes; is affected by things around it; its state alters and moves. State can be understood as physical state, from earth to clay, from wood to ash to glaze, from skin to blood, from NT to NSW and back, from desert to coast; the way the light shifts, how temperature effects the reaction of bodies – human and otherwise; feelings, in short, through place, things and time. Crossing the gallery temporarily, Ntaria Fence is all about this movement – difficult to name for it escapes the terms we have at our disposal. One could imagine here that the word ‘fence’ is a barrier, but one that exists on this corporeal level; the heart passes through with ease, for it’s the heart’s fence.

In February 2015 I went to the Northern Territory for the first time. Yasmin, a friend and colleague, invited me along on her last trip before this exhibition. This was her third visit since early 2014, when she went to Ntaria to work with the local Hermannsburg Potters community on the Old Church Project. My initial response, recorded in a small notebook:

25.2.2015 Purchased at Alice Springs airport. Waiting for Yasmin to arrive from Sydney. I just came from Melbourne. Felt a sense of unknown that I haven’t travelling anywhere in a really long time. Like somehow the most unknown place is this one in my own country, a place where I’ve only ever traced the borders. This ‘fear’ or anxiety goes to the heart of Australian alienation, or why we are alienated from ourselves. What could I possibly be afraid of here, what is so unknown here that isn’t anywhere else? The taboo of ‘un’ or ‘non’ civilisation, of indigeneity? Of the ‘wild’, of heat and open space…

Maybe when I said ‘we’, I actually meant ‘me’; one shouldn’t presume to speak for others. Though of course, as ‘they’ say, it’s easier to speak in generalisations than of individual emotions. Without going too much into the centre-periphery question, maybe the problem is reversed in the Australian context. Here, the physical centre is the metaphorical periphery, the unknown, the ‘wild’, as I clumsily noted – at least for people like me, who come from the coast. This is where this sense of disorientation comes from: the outside has been the thing that concerns me (we) for far too long.

The red centre is a heart, which is a life force, it pumps and pulsates softly away, creating vibrations around it, speeding or slowing depending on surrounding factors, yet sustaining itself and its members, even when they choose to ignore it. If that was the reason for my apprehension in Alice Springs airport, it is a quite common and banal fear of life. Yasmin wrote in an email to me:

‘I think the reality of alienation that you speak of is what makes me see with unrestricted eyes a strange fence almost kind of mirage-like in the heat … To me [Ntaria] is a place that is alive and pulsating with silica and iron that transfers through the trees. And the heat of the place makes it feel like everything there could at any second melt back into the sand.’ [2]

On a day-trip from Alice Springs we visited the Hermannsburg Historic Precinct, comprised of several 19th century heritage buildings with fading information panels to describe the original function of each. We heard Evangelical Aboriginal Arrernte hymns from a CD stereo in the old church and learned nyinta, tharra, tharra-ma-nyinta (one, two, three) – anything beyond three is called a mob. As we were leaving Hermannsburg, we drove by Smith’s former share-house, on Pareroultja Street. This house has a fence parallel the road, about waist height and made of metal wire, with gum branches stuck vertically in the gaps. There are plastic objects wedged in the fence, too: a bucket, an ice cream container, a fridge shelf. Whether all this is for reinforcement, concealment or decoration, one can’t know. It’s as mysterious and unassuming as a front fence can be.

The branches Smith used to make moulds for the ceramic pieces of Ntaria Fence, and the iron-rich ash (the burnt remains found in fire pits of River Red Gum, Mulga and Palm Tree wood) that she collected to make their glaze, all come from around locations in the area that are important to her; the yard of the share-house, the claypans, her friends’ house in Alice Springs. In an essential way, Ntaria made the work.

What does it mean to make work away from the centres, yet in the red centre? In 1877 two Germans made their way from the coast of SA to the middle of the continent, near the Finke River, to establish the Lutheran mission of Hermannsburg (Ntaria) on Aranda land. This journey to the peripheral centre affected what this land is today, and will continue to do so. As long as I’ve known Yasmin she has been a ceramicist; passionate about the molecular changes that occur when temperatures rise or drop, how this affects colour and form, as much as she is awed by the implication of clay and iron in human and geological history.

A functioning shower made of ceramic crates that reference those used for storage in her mother’s house in Dundas; two hard bags of cement, limed with age, separated by rods of iron atop which stand a pair of dainty ceramic chicken legs inspired by a hen in Cumnock; the angular Apprentice Welder series with copper-eroded barium blue glaze where clay is made to look like steel and delicate integrity mocks the facade of solidity. These three earlier works of Smith’s, like Ntaria Fence, herald what she might call ‘the magical mystery hour’ – the mid-zone in any firing process ‘the symbolic moment of creation, where alchemical changes occur’ [3] – that is, fusions of the molecular, the geological and the personal.

It seemed obvious that the house we passed by on our way back to Alice was a place of emotional attachment, being there was important, though its fence was ambiguous. A barrier that is neither a priori and universal, nor totally singular. It could be torn down or reinforced. It is a fence that separates the front yard from the street, a line of distinction between private and public, between past and present. More so than that, Ntaria Fence is a piece of personal, local and geological history, embodied and re-embodied through endless processes of energy distribution. There are no peripheral limbs without a heart and the justification of one without the consideration of the other would be like saying the fence predates the law. Here a fence is recreated in the spirit of the red centre, with the force of heat and the assurance of a heartbeat.

‘Then again, it’s decided well before this firing as to what the colour of the ash will be. It’s decided by place, by the land, and tiny particles of sand and iron … Just imagine if that iron particle had consciousness, and had a narrative. And it does in the end because it makes us alive today.’ [4]

--
[1] bell hooks, ‘Choosing the margin as a space of radical openness’, Yearning: race, gender and cultural politics, South End Press, Boston 1990, p. 148
[2] Yasmin Smith, email to the author, 1 July 2015
[3] Ibid.
[4] Ibid.

With thanks to Yasmin Smith and Amanda Rowell.

3 June 2015

Quote of the day, yay!

'It just makes me sad that everyone lets everyone go all the time. Precarity and chronic melancholy have made everyone emotionally inert and estranged. Now that all the previously stabilizing and organizing structures (however false, oppressive, manufactured, and unsustainable) have been eroded by late capitalism, we need to create internal structures of hope, love, devotion, sustainability, and stability. Otherwise, we’re all doomed. Ok, will stop texting about all these serious things now.'

-- Masha Tupitsyn in a text message to a friend, 25 April 2015

27 May 2015

Love Your Parasites (Baroque Edition)

Love Your Parasites (Baroque Edition) is a book I worked on that is edited by British artist Camilla Wills and published by Paraguay Press, Paris. I contributed a text to the editorial titled 'Add-on: stuff that sticks' (which you can see/read in pictures at bottom of this post).



Launched at South London Gallery on 2 May 2015, with a forthcoming launch in Paris from 19:00 at castillo/corrales on Friday 19 June 2015 (with readings by Justin Lieberman, Laetitia Paviani, Sabrina Soyer and Eleanor Weber & Camilla Wills), this book contains contributions by the following artists:

Morgan Courtois
Stanya Kahn
Allison Katz
KAYA (Kerstin Brätsch and Debo Eilers)
Rachel Koolen
Justin Lieberman
France-Lise McGurn
Jamie Partridge
Laetitia Paviani
Valerie Snobeck
Amelie von Wulffen

As the blurb describes: 'Love Your Parasites is a picture book that recognizes the “co-suffering parasite” through the lens of the motif in different art practices. Motif is taken to be a charged shape that communicates a desire. A form that is clung to, repeated and ascribed significance, that sticks around for a long period of time: scab, bruise, receptor. In this case contamination is renewal, a recurrence without security. Circulation is an intoxicated survival ...'

Designed by Ben Weaver and printed to an edition of 500, for 20€ get your hands on one of these beautiful things, to reference, to open up, and to keep generating heat.



For more information and to order (worldwide postage), click HERE!

8 April 2015

'Richard Frater: April 2015' for ACCA's NEW15 catalogue

I wrote an essay for the catalogue of NEW15, held at the Australian Centre for Contemporary Art (ACCA) in Melbourne.



Curated this year by artist Matt Hinkley, NEW is ACCA's 'annual commissions exhibition for rising Australian contemporary artists'. It opened on 14 March and runs through 17 May 2015.

The selected artists are Paul Bai, Jessie Bullivant, George Egerton-Warburton, Richard Frater, Ash Kilmartin, Adelle Mills, Kate Newby, and Alex Vivian. The catalogue contains essays on each of the artists' work and can be purchased for a tiny $16 at ACCA or online.

I wrote about New Zealand-born, Berlin-based Richard Frater's work 'April' (2015), and the piece can be downloaded here:

https://www.academia.edu/11796790/Richard_Frater_April_2015_-_catalogue_essay_ACCA_Melbourne_2015.




If you are in Melbourne, be sure to check out the exhibition! Many thanks to Richard, Matt, and ACCA.

11 March 2015

Quote of the day, yay!

'Worship power, you will end up feeling weak and afraid, and you will need ever more power over others to numb you to your own fear. Worship your intellect, being seen as smart, you will end up feeling stupid, a fraud, always on the verge of being found out. But the insidious thing about these forms of worship is not that they're evil or sinful, it's that they're unconscious. They are default settings.

They're the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that's what you're doing.

And the so-called real world will not discourage you from operating on your default settings, because the so-called real world of men and money and power hums merrily along in a pool of fear and anger and frustration and craving and worship of self. Our own present culture has harnessed these forces in ways that have yielded extraordinary wealth and comfort and personal freedom. The freedom all to be lords of our tiny skull-sized kingdoms, alone at the centre of all creation. This kind of freedom has much to recommend it. But of course there are all different kinds of freedom, and the kind that is most precious you will not hear much talk about much in the great outside world of wanting and achieving.... The really important kind of freedom involves attention and awareness and discipline, and being able truly to care about other people and to sacrifice for them over and over in myriad petty, unsexy ways every day.

That is real freedom. That is being educated, and understanding how to think. The alternative is unconsciousness, the default setting, the rat race, the constant gnawing sense of having had, and lost, some infinite thing.'

-- David Foster Wallace, excerpt from 'In His Own Words', commencement address at Kenyon College, USA 2005

11 February 2015

"Woman, which includes man, of course": Notes on Andrea Fraser's 'Men on the Line'

If I Can't Dance, I Don't Want To Be Part Of Your Revolution's Performance Days, curated by Tanja Baudoin, Frédérique Bergholtz and Vivian Ziherl, ran from 27 November through 3 December 2014 across various venues in the Netherlands. This seven-day festival dedicated to performance 'comprised all the productions that were developed as part of If I Can't Dance's Edition V – Appropriation and Dedication (2013-2014), alongside contributions by other artists and speakers.'

I was invited to write a text on Andrea Fraser's Men on the Line, performed Wednesday 2 December 2014 at De Balie, Amsterdam, and co-presented with Casco.



“Woman, which includes man, of course”: Notes on Andrea Fraser’s Men on the Line: Men Committed to Feminism, KPFK,
1972, 2014, Amsterdam
is published as part of In Rear View, a series of documents that reflect on the Performance Days through visitor accounts by a range of writers, photographs by Kyle Tryhorn and interviews by Amal Alhaag and Maria Guggenbichler with participants.

You can read and download my account here: https://www.academia.edu/10688558/_Woman_which_includes_man_of_course_Notes_on_Andrea_Fraser_s_Men_on_the_Line_Men_Committed_to_Feminism_KPFK_1972_-_If_I_Cant_Dance_Performance_Days_Amsterdam_2014




Many thanks to Tanja, Frédérique, and Susan Gibb.

2 February 2015

Quote of the day, yay!

'The theoretical and practical struggle against unity-through-domination or unity-through-incorporation ironically not only undermines the justifications for patriarchy, colonialism, humanism, positivism, essentialism, scientism, and other unlamented -isms, but all claims for an organic or natural standpoint. I think that radical and socialist/Marxist-feminisms have also undermined their/our own epistemological strategies and that this is a crucially valuable step in imagining possible unities. It remains to be seen whether all 'epistemologies' as Western political people have known them fail us in the task to build effective affinities.'

-- Donna Haraway, 'A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century', Simians, Cyborgs and Women: The Reinvention of Nature, Routledge, New York 1991, pp. 149-181

31 January 2015

How To Sleep Faster #5

I have a strange essay titled 'NOT!: becoming fanatically NEET' about language under capitalism, investors and NEETs, and Tiziana Terranova's theory of 'ordinary psychopathologies' on pp. 126-33 of the fifth issue of How To Sleep Faster (Winter 2014), published by Arcadia Missa.



Edited by Tom Clark, Rózsa Farkas (Arcadia Missa), Holly Childs, and Leila Kozma, the issue asks:

#HTSF5 #nofuture
What are our politics of refusal? Sleep? Catatonia? Hedonism? Transgression even? #hustle?
[Can refusal can be performed as resistance and not operate as preemptively fucked. . .]




Contributors are:
@GAYBAR, Abri de Swardt, Anna Zett, Ann Hirsch, Anne La Plantine, Aurelia Guo, Beatrice Schultz, Campbell, Dénes Krusovszky, Eleanor I Weber, Elvia Wilk, Holly Childs, Holly White, Imran Perretta, Jala Wahid, Jesse Darling, Katherine Botten, Lauren Hidden, Marcell Szabó, Michael Runyan, Sarah M Harrison, Sophie Collins, Steph Kretowicz



You can ORDER the 162 page issue for £12 + postage here: http://arcadiamissa.tictail.com/product/how-to-sleep-faster-issue-5 (or find in good bookstores: ISSN 2052-3769).

21 January 2015

runway #25 [MONEY] guest blogger

Back in 2010 I contributed an in-conversation with artist Brian Fuata to Sydney-based Australian magazine runway, which can be read here: http://raddestrightnow.blogspot.fr/2010/07/runway-issue-16-disappearance.html.

Since then, as of Issue #23 in December 2013, runway is no longer in print but nonetheless has survived in digital form!



I was invited by curator and editor Macushla Robinson to be the guest blogger for Issue #25 [MONEY], launched in August 2014, to which I contributed a series of posts broadly dedicated to the theme, which played out in eight parts.

Part I: Lazzarato's 'Indebted Man'
Using Lazzarato's book as a touchstone, this first post discusses the ideological use of indebtedness in the creation of late-capitalist subjectivity. A lens for viewing the blog series.

Part II: Eyes on the prize

A critique of competition in art.



Part III: What is this thing called 'work'?
A discussion of Silvia Federici's theories in relation to the feminisation of labour and how it relates to post-Fordist 'creative' (under- or unpaid) work.

Part IV: Some smiles for the Economic Frown
A semi-fictional narrative of some Australians in Brussels, a lot of beer and a poetry reading by Matthew P. Hopkins!



Part V: A page on W.A.G.E. (valued at approx. $93.75)
A brief discussion of the project of US activist group W.A.G.E. and the false-dialectic of 'not-for-' and 'for-' profit.

Part VI: Notes on Society, with Susan Gibb
An interview with Australian curator and writer, Susan Gibb.

Part VII: GCC @ KTZ @ FIAC
A brief reflection on one booth at FIAC, Paris 2014.



Part VIII: One for the Money
Jeanette Winterson has final word.

Thanks a lot to Macushla for the invitation! Long live independent publishing!

12 January 2015

11th Hour publication

11th Hour is a collaboration in book form by London-based artists Anastasia Freygang and Jonathan Hallam. Published in 2014 by 11th Hour Publications, printed and open-spine bound by Lecturis in Eindhoven (NL), the A4 softcover book comprises 80 pages: photographs by Hallam, printed full-bleed, and poetry by Freygang interspersed on white pages throughout, printed in her typical all lower-case Garamond.



The description of the book goes:

'... the imagery revolves around the emotion of grief, hope for resurrection and paths towards it

atunement commences in the mind, translates into the physical - the metaphors in this series evoke states of connection to the elements

our immediate surroundings in this city are shown here, these places are ours

rooftops in whitechapel above feelings and blue rooms in limehouse at anatum's abode - years were spent being together on these platforms

moving times that lead to unfoldment, apprehension and focus on the now'



This beautiful book was launched in Paris on 15 November 2014 during Paris Photo, presented by A Magazine Curated By at PLAN 8, with an exhibition of photographs that ran through 20 November 2014 (event).



Invited by Dan Thawley of A Magazine, the exhibition included some of Hallam's early portrait works and shots taken backstage at Margiela shows in Paris in the late 1990s/early 2000s, including both recent prints and original plates, as well as large posters of some of the photographs in 11th Hour, which feature Freygang.



Freygang invited myself and Anne-Laure Keib to read some of our work live during the opening, and she herself also performed a text alongside a screening of a collaborative video made with Hallam. The text I read was a sort of abstract love letter, created by chronologically collaging together parts of a long-term email exchange between myself and a lover, into one, single-voiced text. While reading I was accompanied by a mix I made the day of the launch titled 'Love letter', which you can listen to here: https://soundcloud.com/cicatrise/letter-by-street-ivory-for-11th-hour.



The Berlin launch of 11th Hour is occurring during Fashion Week, next Monday 19 January 2015 at Projekt Galerie from 19:00 to 23:00. This launch will include a performance by Hallam and Freygang including live poetry and piano as well as a screening of their film, plus works by Berlin-based artists Thoas Lindner and Liina Nilsson (event).



For those not in Paris or Berlin, so far the book can be purchased at Foam, Amsterdam, Whitechapel Gallery and The Photographers' Gallery, both London. ISBN: 978-0-9929868-0-3. To order, or for more information, you can email: 11th.hour.publication@gmail.com. Each photograph within the publication is available for purchase as a poster via Hallam's website.



in such moments the past rattles like a soundtrack in our mind reminding us of our lives and of the ones that we have lost and the ones we will never see again. (AF)

9 January 2015

Text for 'Image To Scale' exhibition, London

I wrote a text for the exhibition Image To Scale, which was conceived by the eight artists who are currently taking part in the Central Saint Martins Associate Studio Programme:

Lydia Davies
Chris Ifould
Piotr Krzymowski
Sean Lavelle
Asta Meldal Lynge
Cameron Scott
Tilly Shiner
Nikhil Vettukattil



The show opened 13 November and ran through 11 December 2014 at London's William Road Gallery. The accompanying broadsheet publication, available gratis, has a print-run of 1000 and features my text and images by each artist. The design was done by Charlie Abbott of work-form.





My text is downloadable here: https://www.academia.edu/10085775/Image_To_Scale_-_exhibition_text_CSM_Associates_William_Road_Gallery_2014

Plus you'll find a nice write-up on the show at aqnb.com.



Many thanks to the CSM Associates for the invitation. Pics from top to bottom: flyer, Asta Meldal Lynge (install), Cameron Scott (install), Nikhil Vettukattil (detail), group installation shot.

22 December 2014

Pop to Popism catalogue, AGNSW 2014

The Art Gallery of New South Wales' current large-scale, self-produced exhibition Pop to Popism, is accompanied by a significant 300 page catalogue of the same title, edited by AGNSW curators Wayne Tunnicliffe and Anneke Jaspers.



This important book makes a connection between North American, British and Australian Pop art and what came after, Popism. I contributed two short essays to it, one on Cindy Sherman, particularly her photograph Untitled 1982 and in reference to her better known film stills (p. 254), and one on Martha Rosler's amazing early collage series House beautiful: bringing the war home 1967-72 (p. 196).



For more info and to order (in paperback or hardcover), click: http://www.artgallery.nsw.gov.au/shop/item/9781741741094/.

Thanks to Wayne and Anneke.

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

Contributors:

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
Nina
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!

'OUR STRUGGLE FOR THE WAGE OPENS FOR THE WAGED AND THE UNWAGED ALIKE THE QUESTION OF THE REAL LENGTH OF THE WORKING DAY.
UP TO NOW THE WORKING CLASS, MALE AND FEMALE, HAD ITS WORKING DAY DEFINED BY CAPITAL - FROM PUNCHING IN TO PUNCHING OUT.
THAT DEFINED THE TIME WE BELONGED TO CAPITAL AND THE TIME WE BELONGED TO OURSELVES.
BUT WE HAVE NEVER BELONGED TO OURSELVES, WE HAVE ALWAYS BELONGED TO CAPITAL EVERY MOMENT OF OUR LIVES AND IT IS TIME THAT WE MAKE CAPITAL PAY FOR EVERY MOMENT OF IT.
IN CLASS TERMS THIS IS TO DEMAND A WAGE FOR EVERY MOMENT WE LIVE AT THE SERVICE OF CAPITAL.'

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



±

'IN ANY SOCIETY BASED ON CLASS, HUMILIATION IS A POLITICAL REALITY.
HUMILIATION IS ONE METHOD BY WHICH POLITICAL POWER IS TRANSFORMED INTO SOCIAL OR PERSONAL RELATIONSHIPS.
THE PERSONAL INTERIORIZATION OF THE PRACTICE OF HUMILIATION IS CALLED "HUMILITY".'

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




Thanks to Amelia Groom for the Acker link.
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