• photo from Tumblr

      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?

      via Remaking the videogame canon with Rachel Weil - Kill Screen - Videogame Arts & Culture.

      10/23/14

    • 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

      10/22/14

    • 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)

      10/19/14

    • all my little words: say my name, vol 7

      conversationswithwomen:

      angelina-hacking-on-the-web.jpg

      SAY MY NAME

      A speculative conversation on digital subjectivity

      Organized by Conversations With Women & failed projects

      Sunday, October 19th at 6:00pm

      PARMER, Brooklyn

      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: info@parmer.info. 

      10/16/14

    • 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

      10/15/14

    • photo from Tumblr

      Always a delight to deconstruct The Times!

      10/14/14

    • photo from Tumblr

      Thank you, Mean Girls Art History.

      10/10/14


    • continuo-docs:

      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.

      Side A

      1. Irrational Landlordism
      2. Exotic House
      3. Anarchy
      4. Mekas, Picasso, Warhol
      5. The Center of Unused Objects


      Side B

      1. Why Is Everyday Life So Incredibly Ugly
      2. My First Lollipop
      3. Flaming Creatures pt. 1
      4. Flaming Creatures pt. 2
      5. Connecting Sugar with Hollywood

      10/10/14

    • photo from Tumblr

      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.

      10/10/14

    • photo from Tumblr

      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.

      via Riot Grrrls Get the Museum Treatment at YBCA | In the Air: Art News & Gossip | ARTINFO.com

      10/10/14

    • photo from Tumblr

      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

      10/07/14

    • photo from Tumblr

      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

      10/06/14

    • all my little words: all gold everything vol 3

      conversationswithwomen:

      tumblr_muai46VCqn1sh91qco1_1280.jpg

      Join Conversations With Women and failed projects to talk cash money Marx, today from 6 p.m on. at PARMER. Learn more.

      10/05/14

    • photo from Tumblr

      10/04/14

    • photo from Tumblr

      *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.

      via Room East | DARJA BAJAGIĆ

      10/04/14


    • OPENING THIS WEEKEND

      Miss World

      Jennifer Chan, Emily Peterson Dunne, Kate Gilmore, Nicole Killian, Ella Dawn McGeough and Addie Wagenknecht

      October 5-26, 2014

      PARMER, Brooklyn 

      The exhibition Miss World, organized by failed projects introduces 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.


      10/03/14

    • On Poisoned Apples, the "Great YA Debate," and the Death of the Patriarchy

      anneursu:

      It matters, that boys read about girls, that they engage closely with books that speak to what it is to be a girl today. It matters that they understand how it feels to be catcalled, to be touched in a way you don’t want to be touched. And that they understand how it feels to wake up every morning desperate to be skinnier, having that desire consume you like fire. How it feels to get by on 1000 calories a day, 500, 100. How it feels to schedule your whole day around exercise, or around eating meals and then throwing them up. It matters that they engage deeply with the forces in society that might cause a girl to feel this way. This is a human issue.

      It matters, greatly, that we all engage with literature that treats girls like people, so perhaps we can we actually can celebrate some small crumbling of the patriarchy some day, so more boys are equipped to take on the rampant misogyny in the world, so that everyone understand a feminist critique of, say, video games, isn’t designed to threaten anybody, but to better us all.

      It matters greatly that YA literature exists, that books like Poisoned Apples exist, that girls and boys and even some enlightened grown-ups read them.  

       Then, maybe, we can all be better adults.

      A long read, but certainly worth it. 

      09/28/14

    • 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.”

      The Scrivener’s Business - Triple Canopy

      09/27/14

    • photo from Tumblr

      Looking forward to more excellent programming from Qubit.

      09/26/14

    • photo from Tumblr

      art recs | Chelsea & Downtown

      Harun Farocki @ Greene Naftali

      Marcel Dzama @ David Zwirner

      Tomma Abts @ David Zwirner

      Lily van der Stokker @ Koenig & Clinton

      Fin de Sicle @ Swiss Institute 

      Orly Genger and James Siena @ Sargent’s Daughters

      09/25/14

    • photo from Tumblr

      publicartfund:

      Current We The People artist Danh Vo and his practice. 

      blouinartinfo:

      Uncovering Danh Vo’s Revelatory Practice Read it here…

      09/24/14


    • via Electric Objects - Artist zine pages


      09/23/14

    • photo from Tumblr

      Getting back to your question: the politics of such a map is as old as mapping itself but with some new particularities. Maps have always been representations of space produced by entities with financial or political power. These representations become problematic when they take on the air of objective truth through use and habit. A common example is how strange it is to look at a south-up map. So the map or territory issue here is pretty well staked out.

      What aggravates the problem in this era is automated symbolic manipulation by algorithmic entities. In other words, the apparatus producing the map is automated to such a degree that it becomes easier to believe it is truthful. It is harder to spot the biases and easier for us to imagine that algorithms deal with the data objectively. So the work of understanding the gap between the map and the territory becomes the work of understanding the biases in the algorithms, the sensors, and the mechanics of the map-making apparatus as a whole.

      via The Future of Mapping: An Interview with Clement Valla | ART21 Magazine

      09/23/14

    • photo from Tumblr

      lisafrankfurtschool:

      This is how one pictures the unicorn of history. Its face is turned toward the past. Where we perceive a chain of events, it sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of its hooves. The unicorn would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in its wings with such violence that the unicorn can no longer close them. The storm irresistibly propels it into the future to which its back is turned, while the pile of debris before it grows skyward. This storm is what we call progress.

      This is basically what the inside of my brain looks like.

      09/22/14

    • photo from Tumblr

      anneboyer:

      boosthouse:

      anne boyer's “how a revolution” from her chapbook my common heart

      Once, some years ago, after staring at a screen, I wrote this. 

      09/21/14