But the Internet is always changing. The Internet of five years ago was so unlike what it is now, to say nothing of the Internet before social media, or the Internet of 20 years ago, or the Internet before the World Wide Web. And yet Post-Internet artists seem to have a clear idea of what the Internet is: a tool for promoting their work. Post-Internet art flaunts a cheap savvy about image distribution and the role of documentation in the making of an art career. (It’s worth noting that Post-Internet artists are still young, and the venues and locations I’ve mentioned—Bushwick, Chicago, the depths of downtown Manhattan and upstate New York—are still in the art world’s near-periphery.) If the big media companies get their way and Congress fails to pass net neutrality legislation preserving access for ordinary users, then the rest us of may also feel like we have an idea of what the Internet was, and wonder what might come next. But until then, Post-Internet art reflects an Internet where the only change worth thinking about is the extent of an installation shot’s reach.The Perils of Post-Internet Art - Magazine - Art in America
In 2005, I traveled to China for a research trip to the Dafen Painting Village in Shenzhen. Artists working in the painting factories in Dafen primarily create paintings based on photographs or replicas of paintings on commission. Sixteen years after the Tiananmen Square protests and massacre, I commissioned artists from Dafen to create paintings of the iconic “Tank Man” image of a student boldly facing a line of armored tanks, an image that became an international symbol of the fight for individual liberty as well as peaceful protest against a repressive government. I learned that under Chinese censorship, this image was virtually unknown, and inaccessible even through a deep Internet search. Of the dozen requests I sent, most were returned with a price and the universal salutation, “It is a pleasure to do business with you.” A few painters suggested I just leave the man and the lamppost out, often for unclear reasons: political or aesthetic? Only one person refused to paint the image.
Even if you could, for yourself, surgically remove the aesthetics of that time from their origins, how can you guarantee that others will deem your efforts a success? What fantasy 1890s are you in, exactly? More importantly, what identity are you asserting? Do you care that your getup might have uncomfortable associations for local descendants of this colonial history?
This alternative, pink-laced Polly Pocket dimension is the basis of Rachel Simone Weil’s hyper-feminine videogame allohistory. It’s from here that she designs and creates her own custom software, hacking together 8-bit nostalgia with girly symbols for love and femininity. Weil revisits videogame history, particularly of the 80s and 90s, to reimagine what it could have been if it were without the dominant boyish rhetoric. What would videogames have looked like if they were made to appeal to her as a child? And what if boys didn’t have to enjoy pink hearts, ribbons, and pastel colors only as a guilty pleasure?
Part of what makes heteronormcore so boring is its inability to dream bodies outside its own dictionary. Part of what makes capturing the essence of modern dick sucking so difficult is that once we make a serious attempt to hold all kinds of actors and genders (including ones that don’t “look” like either men or women at all), and all kinds of queer encounters, we are left with lots of substance and story and little common meaning. Perhaps that’s the point. That sucking dick is an idea, and a dick is an idea, and the mouth is an idea (an open one), and sucking is an idea, and then putting a mouth to a dick and sucking is several permutations of ideas waiting to explode one another. Dick sucking anticipates variations on itself. Like people, sex acts can have one name across certain spans of time and yet dress and behave in completely different ways. Phrases like “queer” and “War on Terror” don’t mean a material thing anymore on their own. Neither, I would posit, does sucking dick. Maybe, at some point in the vast and fluid history of sex, dick sucking was an act; right now it’s more of a performance.How Many Licks – The New Inquiry
Is not memory inseparable from love, which seeks to preserve what yet must pass away? Is not each stirring of fantasy engendered by desire which, in displacing the elements of what exists, transcends without betrayal? Is not indeed the simplest perception shaped by fear of the thing perceived, or desire for it?Adorno, Minima Moralia II.79: “Intellectus sacrificium intellectus.” Translated by E.F.N. Jephcott. (via adornography)
all my little words: say my name, vol 7
A speculative conversation on digital subjectivity
Sunday, October 19th at 6:00pm
These conversations aim to bring together alternative viewpoints, skipping from politics to play to theory and everything in between. The conversations are intended to be loose, participatory, and spontaneous. Non-prescriptive thematic prompts for the three conversations can be found below and on Conversations With Women. If you would like to join us, please email: firstname.lastname@example.org.
I shall speak about women’s writing: about what it will do. Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies — for the same reasons, by the same law, with the same fatal goal. Women must put herself into the text — as into the world and into history — by her own movement.text of Helene Cixous’ Laugh of the Medusa and some great links
Always a delight to deconstruct The Times!
Thank you, Mean Girls Art History.
Jack Smith – interview with Sylvère Lotringer, picture disc LP edited by Robert Dewhurst and Hedi El Kholti, published by Semiotext(e), USA, 2014.
Semiotext(e)'s contribution to the 2014 Whitney Biennial, from Mar 7 to May 25, consisted in the publication of a series of 28 new pamphlets, exhibited during the Biennial. In addition, Semiotext(e) also released a facsimile of the 1978’s Schizo-Culture issue, including the likes of Félix Guattari, William Burroughs, Kathy Acker, Boris Policeband, John Giorno, Philip Glass, Michel Foucault, Sylvère Lotringer, Guy Hocquenghem, Gilles Deleuze, John Rajchman, Robert Wilson, Joel Kovel, Jack Smith, Jean-François Lyotard, Ti-Grace Atkinson, François Peraldi, and John Cage. Finally, the original cassette recordings of Lotringer’s interview with Jack Smith were remastered and edited in LP form.
- Irrational Landlordism
- Exotic House
- Mekas, Picasso, Warhol
- The Center of Unused Objects
- Why Is Everyday Life So Incredibly Ugly
- My First Lollipop
- Flaming Creatures pt. 1
- Flaming Creatures pt. 2
- Connecting Sugar with Hollywood
This is a messy area and there are no clear-cut rules. Because of the lack of public funding for the arts, individual artists have to make these judgement calls every step of the way. It is not easy.
My parents were in the church, but religion for them is teaching of love and acceptance. I was also raised to stand up for what you believe in and help those you see in need. I had to ask myself, how much worse would this have to be for me to say “no thank you.” And the answer was “it’s already pretty bad.”
Great art shifts our perspective on the world. Shows us another way to perceive things, broadens our thinking, and reveals other ways the world can be. It makes us more understanding and empathetic. This is why I am an artist. I want to use the prize money towards this end, and the DeVos’s seem to use their money for the opposite.
I hope I don’t regret it, but right now I already feel better. As an artist, I am confident I will continue to be supported by people who believe in what I do, as long as I continue to believe in what I do.
Later this month, San Francisco’s Yerba Buena Center for the Arts will open the very first museum exhibition devoted to the legacy of the Riot Grrrl punk feminist movement. Titled “Alien She,” after the Bikini Kill song of the same name, the show will encompass the practices of seven artists — Miranda July, Allyson Mitchell, L.J. Roberts, Stephanie Syjuco, Ginger Brooks Takahashi, Tammy Rae Carland, and Faythe Levine — who were influenced by Riot Grrrl, as well as hundreds of self-published zines and posters from both institutional and personal archives.
Join us for the launch of PERSONA, the second in a series of artist-led magazines exploring the condition of female contemporary art practitioners. Co-edited by Melissa Gordon and Marina Vishmidt, PERSONA responds to questions that arose during four meetings of female artists entitled “A conversation to know if there is a conversation to be had” held in New York, Amsterdam, Berlin and London in 2010-11.
PERSONA looks at the condition of self-presentation for the contemporary artist, and in an expansive manner encompasses discussions on refusal, interiority, friendship, candor, and embarrassment. via Printed Matter
TRANSFER is pleased to present the second iteration of ‘HELLO, SELFIE!’ a performance piece by Los Angeles based artist Kate Durbin on Friday, October 10 in NYC.
'HELLO, SELFIE!' by Kate Durbin, presents a new form of passive aggressive performance art, reveling in teen narcissism and the girl gaze. Inspired by surveillance culture, Hello Kitty, Apple products, the teen girl tumblr aesthetic, Miley Cyrus, and Vanessa Beecroft, the piece exists both IRL and URL. 'HELLO, SELFIE!' features custom fashion by Peggy Noland.
The IRL aspect of the piece takes place in a public space where a large group of female performers take selfies for an hour straight. They do not directly interact with the audience, instead interacting only with their phones. Passersby gawk and take their own selfies with the girls. The selfies are then uploaded to social media and shared in real time.
'HELLO, SELFIE!' NYC will take place in Union Square on Oct 10th from 5–6PM.
via HELLO, SELFIE! At TRANSFER | ART HAPS
all my little words: all gold everything vol 3
*Pissed: Last Toast* ‘Up yours!’ I say, to this razed domain of mud,
And my louche old being: to you,
This threesome that is loneliness, shared blood, 77 Oh, and I drink to You – you too; Here’s to my world, which has seen its arse, To lies lodged in my ravaged gob,
To mournful eyes, cold, dead as glass,
To the fact that God’s a slob.
OPENING THIS WEEKEND
October 5-26, 2014
The exhibition Miss World, organized by
failed projectsintroduces work from Jennifer Chan, Emily Peterson Dunne, Kate Gilmore, Nicole Killian, Ella Dawn McGeough and Addie Wagenknecht to explore performative acts and objects of youth—proposing the space of a girl’s room as a model of quotidian imaginative resistance.
The Scrivener’s Business - Triple Canopy
This is the greatness of rereading when you’re many years older: You are a different person. And so I’m shocked and thrilled to read the Bartleby that I read this week. When I was a kid I couldn’t get past the mysteriousness. This time I thought, at first, Bartleby is the lawyer’s story; but in time I realized it’s about the dynamic between Bartleby and the lawyer. The lawyer is not deceiving himself, but he only knows partially what he does, and what he thinks, and how he thinks; Melville brilliantly shows you the degree to which the lawyer understands what he’s thinking about and the degree to which he doesn’t. The lawyer is the essence of the Upper West Side liberal. [Laughter.]
What is Bartleby? He’s not real, none of them are real—they’re postures, they’re attitudes, ways of being in the world. All the lawyer wants is for Bartleby to be reasonable. This is the essence of what Bartleby cannot be. Bartleby is that which is not reasonable. Now, I say to you, if the lawyer was a radical, not a liberal, he would have gone the extra mile. He would have kept Bartleby no matter what. He would have known that Bartleby is the essence of rebellion, of the refusenik, of “I won’t live on your terms,” of “in fact I’m not even sure if I want to live on any terms.”
Looking forward to more excellent programming from Qubit.
art recs | Chelsea & Downtown
Current We The People artist Danh Vo and his practice.