From the archives of Untitled, Radio, this episode reflects on seven years of artistic and creative collaborations that have been activated by the Untitled, Art fairs Miami Beach and San Francisco. This episode features artists and curators that embody that collaborative spirit including contributions by Cheryl Pope, John Miller, Madeline Hollander, Amanda Keeley, Stairwell’s, Anthony Huberman and Apsara DiQuinzio, and Konstmusiksystraar.

On some days it is more apparent than others that the ground is shifting below our feet. On a clear day, we can see the horizon that tells us we are in the midst of a global regime change, yet we do not yet know the face of the new power just beyond it. But what we can see is the limit of an economic regime that has dangled vast advances in symbolic spheres of information and communication, in capital flows and even human movement across the globe. Perhaps it was only a matter of time before we realized the ...

Beyond performative resistance and melancholic complicity with the existing order, a crucial strategy emerged in the 1980s from a collective of artists in Yugoslavia who used complicity as its most lethal weapon. Inke Arns and Slavoj Žižek have respectively described the activities of NSK (Neue Slowenische Kunst) and its sub-groupings (the band Laibach and the artist collective IRWIN, and Scipion Našice Sisters Theatre, among others) variously in terms of over-identification or subversive affirmation, as performing the “hidden reverse” of state ideology. From Laibach’s nationalism in drag to the issuing of a passport for an imagined “NSK state,” NSK is perhaps ...

What if history actually did end with the fall of communism and the end of the cold war, as Fukuyama claimed, and we are now enjoying some kind paradise of liberal democracy with no better political framework to strive towards? Or, what if a recognition of exploitation and social inequities actually is leading to a massive workers’ revolution that will reclaim the means of production and lead to a more equal distribution of resources and power—whether Marxist, democratic, or otherwise? Indeed, we are unsure whether we are still inside of an idea of progressive social emancipation and human self-realization that defined the modern era, ...

Although it looks like it, == is not the catalogue of an exhibition. It is exactly the opposite, it is an independent project, conceived ahead of an exhibition. In fact, Matt Keegan has devised an exhibition from the publication, rather than the traditional reverse. Even more, an unlimited number of venues may be produced. Emphasizing the wall as a page, each one provides a temporary container for ==’s various parts, allowing Matt Keegan to act as the protagonist for the fictive curatorial project.

A publication is a time capsule & transmitter from here to there, from you to me. Working from this basic statement: how has your work changed since your 2012 or 2015 contribution to ==? This question and timeline could be rephrased as: How has your life & work changed in the wake of Brexit, Trump’s presidency, and the move to the right in Europe. (The majority of contributors are based in the US and this prompt is not intended to romanticize Obama’s presidency or deny repressive administrations that have come before). It is not necessary to root your response in the 1st person, ...

In this edition of Before Drones we look to the American epicenter of the pandemic: New York City. John Miller staged his first solo exhibition in 1982 at Artists Space and has since been a critical voice in the city’s artistic and discursive goings-on within the increasingly commercialized art world of the Reagan era and its politicization within the “culture wars” that followed. In his multidisciplinary practice, Miller remodels the spiritual and material highs and lows and very lowest the “American Dream” has on offer, resulting in works where the fetishistic meets with analytical documentation. John Miller’s exhibition An Elixir ...

In this conversation Maria Eichhorn and John Miller set out to closely read some of their own recent production. Reviewing several bodies of work the two artists expose their working strategies, interests and inspirations. The conversation ranges from, among other topics, climate changes to personal ads, from Seth Siegelaub’s “Artist’s Contract” to Duchamp’s “Monte Carlo Bond,” and from the machinations of capital to American game shows.

A ‘complex’ can be an architectural configuration, a psychological syndrome or a political apparatus. In this book, John Miller approaches Educational Complex through corresponding lines of enquiry, considering the representation of Kelley’s schools (and his childhood home) as architectural models; popular fantasies associated with false memory syndrome; and the liberal democratic premises underpinning education. During his lifetime, Mike Kelley worked with a wide range of media, exploring themes as varied as grassroots politics, religious systems and social class. Miller shows that in Educational Complex, Kelley expands this political and aesthetic focus to test the ideological horizon of art as an institution. This ...

Part essay, part memoir, part ode, part user’s manual, part picture, part word, part eulogy, part elegy, part complaint.