Harrell Fletcher and Michael Rakowitz share a lively conversation largely composed of anecdotes and first person narratives that addresses central and shared concerns in both artists’ practice. Discussions about the pedagogy of art, social practice, story-telling, sincerity, community-oriented projects, and documentary strategies are interwoven with analysis of some of the artists’ key works.
What begins as a casual engagement with funny memes can rapidly metastasize. The most common path for this particular group seems to arrive at something called Cyber-nihilism, a blend of Landian techno-pessimism, Primitivist anxiety and Transhumanist detachment. Enough time spent in this space culminates in a type of ideological Stockholm syndrome. Many of these ideas already exist on a continuum tilted towards nihilism; joining a doom cult is not too far a leap.
Many or most of the objects in the Library would be impossible to replace already, just a few years after they were made. Some were singular, or in editions of two or ten copies, others were print on demand but from sites and situations that have already disappeared. The Library is a document of a moment and a sensibility that seems simultaneously contemporary and historical—just by being gathered in this way, the manifold and subtle affects and design choices gather force and become expressive of a period. As I held the books I felt them slipping out of my grasp. ...
with assumed responsibility of Pascale Berthier & Cerith Wyn Evans
and a response by David Cunningham
Slope Deviation from the horizontal or vertical Recline Fifty balloons read as a score in an afternoon
Da is published by Am Nuden Da. It takes its name after the magazine Da founded by Isidore Isou and Serge Moscovici in 1944.
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, ...
This sixteen page book is titled ‘Alif, after the first letter and numeral of the Arabic language, which are both written with a single stroke. The book contains a series of love poems possibly written by the seventh century arab poet Abu Nuwas, to his contemporary, the alchemist Jabir Ibn Hayyan. The poems are said to be carried out by the poet according to rigorous parameters set by the alchemist.
Hito Steyerl has created a two-part edition: a free unlimited digital download and a new limited edition print. The source for both editions is a found image of a woodcut print by Utamaro, which the artist has intentionally corrupted by embedding one of her written texts into the image’s source code. The downloadable code reveals this hidden text, from which it is possible to reconstruct the original jpeg image. The limited edition print is a further derivative of this text, printed with silver ink containing silicone; a component of semiconductors.
Instructions for digital edition:
Download the image source text (right-click and select ...
Dear_Tony (2013) is an unauthorized, distributed retrospective of the public sculptures of Tony Smith by Christian de Vietri and A.E. Benenson.
Addressed as much to the deceased sculptor and his practice as our contemporary audience, Dear_Tony rethinks the artist’s historic investigations into modular construction, phenomenology, and public space within the contexts of digital fabrication, interactivity, and networked communication. At the same time, Dear_Tony is a means to reflect on the form of the retrospective and how its requirements may be adapted to contemporary conditions of viewership.
Dear_Tony consists of a digital sculpture by Christian de Vietri, which is composed of extractable models ...
Following his 2014 residency at AAA, New York-based artist Walid Raad developed Section 39_Index XXXVII: Traboulsi. The project stemmed from his research into AAA’s Ha Bik Chuen Archive and consisted of several ‘sculptural spaces’ built by Raad’s fictional collaborator, Suha Traboulsi, who creates reproductions of canonical modern paintings by Arab artists.
People sometimes get irritated if you ask them the same question again, especially if it happens in the same conversation. Yet sometimes they provide different answers immediately, or let’s say two minutes after the first (think of the Oracle in The Matrix, or Bill Clinton during his trial). However, when there are forty years in between two identical questions, there’s a big chance of getting the same answer. This does not a priori mean that nothing has changed or that things have remained the same…
As the physical world degrades and so corrodes the credibility of institutions that enable consumption, the status quo in the global north goes virtual. Within a short time, we’ve witnessed a rapidly increasing capacity to design, simulate and conjure a virtual perception of reality with exactitude and definition. Our ability to simulate reality has come to match our ability to record it. We’re able to simulate and produce a photographic image of an object without any need for the object itself. The same goes for retouched images and the act of retouching. As a result, images no longer need to ...
Invited to Stockholm in spring of 2015 to work with the graduating MA and BA students of the Royal Institute of Art on “making a publication,” the two foreign editors of A:Art (Stuart Bailey and Angie Keefer) instead found themselves swept into the death throes of a decades-old struggle between rival institutions over the current identity and possible future of a national art scene. The book is a chronological account of events that unfolded among the Academy, the art school, its students, assorted government ministries, and the Swedish press, with accompaniment from various outside texts, including Raymond Williams’ Keywords, an ...
This collection of digital objects scratches the surface of some of the questions we like to puzzle over the most: What are the possibilities for public speaking now? How is learning something we do with our bodies? What is the materiality of acquiring knowledge? And what is important about being in a room with others, watching something together? We hope these 10 works offer some methods for reconsidering the possibilities of showing each other things in public.
“After Brad Troemel” (ABT) is an artist book conceived for the JstChillin exhibition “Read/Write” at 319 Scholes in Brooklyn in 2011. The book—originally published in a limited edition of 20—took as its conceptual core the characterization of artist Brad Troemel as a genius and a mastermind analyzed through the lens of conspiracy theory and amateur internet sleuthing. According to artist and writer Artie Vierkant, who wrote the introduction to this edition, ABT is not “about Brad Troemel, nor any of the myriad names or identities that are mentioned in its pages. ABT is about the construction of identity in a mediated ...
Two figures go out into this world and traverse it: the explorer and the imposter. The explorer stands on terra firma, surveying the horizon that magnetically pulls him. Sometimes Fernweh (in German, “yearning for the faraway”) produces an explorer who never returns, but his traveling is still made possible by the knowledge that he could return at any time. e image of the explorer appends a few basic corollaries to the nature of the Western image and the way it renders history. is Western image is weightless, infinitely thin, hovering above everything, including history. It is reproducible on all channels, ...
fifty five cent twix
they asked in a chorus at the lights.
how do we creepshow whe re in the money? new daddies abound. some kind of tif trick. -999999996666666
i know it’s time to true turn out around. it must be time for some kind. of refill. my period is here agin. ugh.
I’m finally running low
On marzipan Three fifty Ritter
Web based mobile app.
What is AGNES?
AGNES is a digital commission by Cécile B. Evans, the first in a series of digital commissions that coincided with the launch of the new Serpentine website and the opening of the Serpentine Sackler Gallery. AGNES introduces herself in stages: like a person, she cannot be experienced in totality through a single encounter.
Who is AGNES?
AGNES lives on the website. She wants to share things with you and learn about your thoughts and feelings. The more you give back, the further AGNES will accompany you on your digital encounter with the Serpentine Galleries. She will introduce you to the ...
“…And I was like—yes it is! Part of my broader project as an artist is thinking about how the term climate change can be redefined and expanded to enable people to understand its relevance. So climate change is redefined as an issue of inequality, or social justice, and also urban design and planning. So if I go by that broader definition, I don’t see why I should exclude those things here.”
Amy Howden-Chapman in conversation with the Newspaper Reading Club, 2015
An Anti-Catalog was the work of the Catalog Committee of the group Artists
Meeting for Cultural Change (AMCC). A landmark publication of the 1970s,
its purpose was to protest the Whitney Museum of American Art’s
bicentennial exhibition, which was titled “Three Centuries of American
Art.” The Whitney show featured John D. Rockefeller III’s collection of
mainly eighteenth and nineteenth-century American art–a collection that
featured only one African American and one woman artist.
The Catalog Committee, which consisted of fifteen artists and two art
historians, spent almost a year producing an eighty-page book containing
articles and documents. Originally conceived as a critique of art
historian E.P. Richardson’s catalog for the Whitney exhibition, ...
Even before 2017’s floods, fires and explicit nuclear threat, the doomsday clock had been ticking towards midnight, spurred on by the warming planet and the hothead in the White House. Survivalists have been around since the 1930s, but all of a sudden, prepping (making plans for civilizational annihilation) started to feel like the not-crazy thing to do. But how to go about it? Become a one-person militia and stock up on camo and bullets? If you’re a too-rich tech bro, you disrupt the apocalypse: get Lasik, build a panic room and buy an apartment in a luxury tower submerged below the surface of the earth. Or at the very least you could get a few chickens and learn to can and pickle in the spirit of a 1960’s utopian commune. As speculative preparation and luxury homesteading become more mainstream, they have dovetailed with the broadcasting of lifestyle through aesthetic and dietary choices. While we flail towards an unknown future, we decide whether to prep or to simply accept our fate as the last generation of human beings, the ones that finally ruined everything.