Lars Bang Larsen

PublisherThe Serving Library2012
This Issue was produced under the auspices of the research program Dexter Bang Sinister at Kunsthal Charlottenborg, Copenhagen, January 21 – October 28, 2012, curated by Rhea Dall. The program, devised by Angie Keefer, David Reinfurt and Stuart Bailey together with writer-critic-curator Lars Bang Larsen, was based on Lars’s just-completed PhD dissertation at the University of Copenhagen, A History of Irritated Material: Psychedelic Concepts in Neo-Avantgarde Art. In practice, a large part of the so-called research played out in the form of an exhibition set up to explore the notion of *black & white psychedelia*— halfway closing the doors of ...
Publishere-flux2010
In a recent BBC documentary on “objectum sexuals”—people who have loving relationships with inanimate objects—Erika Naisho Eiffel spoke about her love affair with an archer’s bow: “We were just such a great team because we had that connection on every single level. I’d almost swear that my blood flowed from my arm and went right into him. And it felt like the molecules in him were flowing right back into my arm.”1 It’s no surprise that, before their love waned, Naisho Eiffel was a record-breaking world champion archer—a love story indeed. But more importantly, Naisho Eiffel’s example seems to suggest ...
Publishere-flux2011
In the February 2009 issue of e-flux journal, Luis Camnitzer suggested in his essay “Art and Literacy” that a core problem in education (particularly for artists) can be traced back to an early stage when one is taught to read and write, in that order.1 On one level, it is simple common sense to suppose that one can only begin to write after learning how to read. But, at the same time, this ordering also takes for granted that consumption must necessarily come before production—only after you consume knowledge will you then be capable of producing it. It is a fundamental ...
Publishere-flux2013
Where do artifacts go when they are destroyed? They enter a void of historical erasure, of fabricated narratives and convenient amnesia. We used to call that place a museum. But what happens when a museum is itself destroyed, when it is burned or looted, when icons and artifacts turn to dust or fall back into the hands of people? Can we still access them, and do we even want to? As Boris Groys points out in this issue:.. Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle Becoming Revolutionary: On Kazimir Malevich Boris Groys The Insurgents, Part I: Community-Based Practice as Military Methodology Nato Thompson Visions of Eternity: Plastic ...
In the early years of the 21st century, Europe seems uncertainly placed between a deep sense of its own historical importance and anxiety about where it may go in the future. The European project, which for many of our institutions was a guiding principle, has run aground on the rocks of neo-liberalism and an economic priority that forgot about society’s politi- cal and cultural dimensions. The national project, on which the foundations of our museums (along with most of Europe’s other cultural institutions) were based, retains little of its 19th century ambitions to progressive, democratic thinking. As a result, cultural ...
Recently, there has been a revived interest in the medium of radio, which can be attributed to the extended range of network-based services. Most important in this context is the world-wide availability of high-quality streaming, the abolishing of monopolies, or at least the unproblematic and easy access to technologies and infrastructures as well as concessions and licences. After all its years of existence, and despite momentous technological chances, radio still displays its characteristic directness, a characteristic already pointed out by Rudolf Arnheim and Bertolt Brecht and later by Marshall McLuhan. Currently, there is an abundance of art radio projects, practically all ...

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