Now live: music is my mother, the talk and mixtape I made for If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating the Same History, organized by Mikaela Assolent and Flora Katz, that took place at PARMER, November 10 – 22, 2014.
Ursula K. Le Guin gave an amazing speech as the National Book Awards gave her an award for distinguished contribution to American letters. Hear more about her speech at NPR.
I like to think of social media as a discursive space that’s distinct from the public sphere. While the organs of the public sphere have used it and tried to adapt to it, social media has a plurality of voices and perspectives that reveal the public sphere as a technology for propagating a singular perspective, one that values things like rationality and objectivity as foundations for the power of the bourgeois white man. Social media has opened up a lot of pushback to that. People talk about the death of newspapers and the death of experts, and I think that’s great. Of course I don’t ignore the reality that social media companies are enriching a small group of people in Silicon Valley, but I’m more interested in how social media is breaking down those other entrenched values. The master’s tools will never dismantle the master’s house, but often one master makes the tools for dismantling the house of another.
Sad Girl Theory proposes that the internalised suffering women experience should be categorised as an act of protest. We have historicised gestures of externalisation and violence, because they already fit into our standards of masculinity, and therefore, power. But there is an entire lineage of women who consciously disrupted the status quo through enacting their own sorrow. I think that a sad girl’s self destruction, no matter how silent or commonplace, is a strategy for subverting those systems, for making the implicit violence visceral and visible, for implicating us all in her devastation.
Just a couple of Global Thinkers between sessions.
To my eternal surprise yet delight, I find myself on a list that includes Kara E. Walker, Thomas Piketty, Camile Henrot, and John Oliver. I’m pleased to announce that Art+Feminism has been included in Foreign Policy magazine’s list of Top Global Thinkers for 2014. I share this honor with my collaborators, Siân Evans, Dorothy Hexa Howard, Richard Knipel, Michael Mandiberg and Laurel Ptak, and will all the satellite organizers and participants.
via Present Works
Conceptual writing is, for all its declarations, pathetically outdated and formulaic in its analog need to bark back incessantly at the original. As Deleuze said, “Why must we be the crocodile imitating the tree trunk? Why can’t we be the pink panther? The pink panther imitates nothing; it reproduces nothing, it paints the world its color, pink on pink; this is imperceptible itself, asignifying, making its rupture, its own line of flight.” Excessive and expressionist, poets like Ronaldo Wilson, Dawn Lundy Martin and Diggs have created cyborg enunciations out of shredded text, music and lived experiences; they are building a new, dissonant futurism, treating poetry as rank growth as it punctures the dying medium of print via performance, video, or audio recordings, finding inspiration from hip hop that has oddly, so far, been ignored by Poetry. Nicholas Bourriaud, the critic who coined the term “relational aesthetics,” said the artwork is the interaction between artist and viewers, as a way to “inhabit the world in a better way.” The encounter with poetry needs to change constantly via the internet, via activism and performance, so that poetry can continue to be a site of agitation, where the audience is not a receptacle of conditioned responses but is unsettled and provoked into participatory response. But will these poets ever be accepted as the new avant-garde? The avant-garde has become petrified, enamored by its own past, and therefore forever insular and forever looking backwards. Fuck the avant-garde. We must hew our own path.Delusions of Whiteness in the Avant-Garde - Lana Turner Journal
Interview with Jennifer ChanThe third and final interview I’m going to post related to my article about theory and art criticism for Momus (Part 1, Part 2) is with artist Jennifer Chan. Unfortunately, none of her responses made it into the final draft, but they were really helpful! Do check out her own writing (which is excellent) if you haven’t already.I’m curious, mainly, about whether you feel that what Christopher Glazek wrote applies to you. Would you say that feminist theory (or any other kind of theory for that matter) is a useful tool for discussing your work? Have certain thinkers or theorists influenced the way you think about what you do in a significant way?Feminist theory is a relevant lens for discussing my work but I don’t think it’s necessary to go to school for gender studies to have feminist beliefs and carry out feminist actions. I never studied the feminist canon; I always had a feminist idea and did research on people who wrote about those things. Early on I suppose Naomi Wolf and Claire Johnston influenced my ideas on beauty and sexualization, later on Judith Butler and Jack Halberstam. And even later on, just extreme masculinist/hyperfeminine cultures on the internet like Pickup Artist Forums or Mens Rights blogs would inspire me to use remix to respond to them. I don’t think western academic feminism applies much to how I practice today. It works great in theory, but it doesn’t translate across different cultural contexts very well.There are a lot of post-net artists who write to contextualize their work too- Kari Altmann, Katja Novitskova, Nicholas O’Brien, Jaakko Pallasvuo are a few that come to mind.
I greatly enjoy both of these people.
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