MILTON FANGLINN: My name is Milton Fanglinn. I don’t teach, no. I work in the antiquities industry as a kind of. . . well let’s say a freelance scholar. I run a small consulting business, first out of New York but now from London, authenticating and researching the provenance of ancient objects in the field. Most of these don’t things have paper- work, or known owners, and are probably never going to be seen by the public. I have worked discreetly for many of the finest museums in the world, none of which would ever want its competitors to know ...

listen i stole this bitch commuter’s scion prius car is fucked tho i liked idling in the club no one hears it anyway t say //reconstruct his world// he left this mix in the disc changer with other shit so my dis track? i recreate his fucked life transcribe it as i drive make posts too & write the songs as they play t say //there r mistakes gaps between yr text and his mix// but i think his future will not exist we feel it as sinister to the commuter’s future i’m the white mother hollowed by oxy dribbling ...

Seventh Dream of Teenage Heaven seeks to generate ideas about contemporary life in the wake of postmodernism. It explores these issues in relation to how the passage of time once evident in the material residues of our culture has given way technology, social media and consumerism that change the way we perceive to time. The essay takes the form of a three-act play and prologue that combines parts of seminal texts by leading theorists on postmodernism, a pastiche that shapes a fictional conversation⎯itself performing the very ideas addressed by the publication. The book has original musical scores with lyrics drawn from Orwell’s 1984.

This pamphlet transcribes and reformats 3GRADPLUS: A Journey to the End of the World, a public performance by the Swiss journalist Hannes Grassegger, produced by the 2019 International Summer Festival Kampnagel in Hamburg. For the event, Grassegger re-enacted his reporting process for the piece “Der Fall Benjamin Green” [“The Case of Benjamin Green”] in the Swiss weekly Das Magazin, interviewing the writers, scientists, researchers and characters from the piece in the contingent and unpredictable setting of live theater. Some participants were present via video link; a few of Grassegger’s illustrations are reproduced here. Across its three hours, the event moved ...

The young filmmaker Rene Daalder and the architecture student Rem Koolhaas wrote the screenplay to Daalder’s 1969 film De blanke slavin (The White Slave) in 1967/68. Taking inspiration from B-movies and Luis Buñuel, it is a hall of mirrors that toys with clichés and inverts them into campy provocations. A few years after the Eichmann trial, a man named Günther Unrat arrives in the Netherlands looking for “good Germans” who helped fight the Nazi occupation. He quickly gets mixed up in a nefarious organization that inspires him to follow in the footsteps of the consummate “good German” Albert Schweitzer by setting up a camp for young ...

You Just Have to Experience It combines citations culled from the book Beyond Objecthood: The Exhibition as a Critical Form since 1968 to trace a history of the changing role of the spectator in art and exhibitions from Minimalism to Relational Art, and New Institutionalism to the present. Produced on the occasion of the launch of Beyond Objecthood, this public talk in the shape of a performance reading presents a brief history of the exhibition as a critical form from the 1960s to the present, a form that inherently solicits spectators into temporal and spatial experiences and situations as indispensable components of the work. The title ...