“How could my grandmother have made millions from the antiquated traditions and ridiculous superstitions that I’d been so desperate to abandon?” An essay on the monetization of traditional Chinese medicine and failed promises of diaspora. “Aconite, My Roots,” by Henry Zhang is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.

Group Material’s work was primarily topical and temporal, fueled by our personal and collective observations—and by the social urgencies we perceived. Our horizon was the present tense. In 1989, the curator of the MATRIX Gallery at the Berkeley University Art Museum, Larry Rinder, invited us to address the subject of AIDS after seeing our exhibition at Dia Art Foundation the year before, “AIDS & Democracy: A Case Study.” At the time, Group Material consisted of Doug Ashford, Julie Ault, Felix Gonzalez-Torres, and Karen Ramspacher. By 1989, we had witnessed several years of the epidemic with severely inadequate public response.The accumulation of ...

A house is more than a home, it’s a part of you. Suburban absurdity meets posthuman horror in Maggie Siebert’s tale of an unusual episode in real estate.

Take Care’s fifth circuit, Collective Welfare, glimpses typically sequestered and private spaces of care. The projects in this circuit juxtapose three sites of the institutional mediation of care: hospital, prison, hospice. These sites offer a reminder that the welfare state, in all its ambivalence, is a decisive front in the crisis of care. Reframing practices of individualized care as fundamentally social matters, this circuit works across video, photography, social media, and temporary architecture to bear witness to care’s pace, failure, and stratifications. Collective Welfare circulates images of the entanglement of the chronically ill body and the biomedical industrial complex; materially fabricates the incompatibility ...

Even in my dotage, I have never failed to mark the day that I felt compelled to distance myself from my first mentor, Francis Galton. In his day, he was a hero to his public, an intellectual giant amongst his peers, and the person I then credited with whatever learnedness I had achieved. During my youth, I was completely enamored of the conviction that Europe was unrelentingly progressing toward ever-greater prosperity and perpetual peace. This irresistible amelioration was fueled by science, engineering, and enterprise. The entirety of the earth, from the soil, to the animals, to humanity itself, could be ...

What does it mean to be a “little off”? To not be lining up with the world in ways you are accustomed to? What kind of thoughts might follow that misalignment? What kind of writing? It’s probably true that we, those of us who are fortunate enough to get to think in public, want to present ourselves as competent…convincing even…Maybe contribute something that makes us stand out from the thicket of thoughts and aesthetic nuance. But surely thoughts that are “a little off” must have merit of some sort, seeing as many of us whether we want to or not embody ...

The somatic experience of sound is inspected from its potential for violence and torture to the transcendence of healing, by way of its actual physical form. A discussion on the ambiguity of the human relationship with sound through science, technology, and spirituality.

Artist and writer MARIAM GHANI and Editorial Director of Eyebeam, MARISA MAZRIA KATZ speak to New Models about Ghani’s new work Dis-Ease, a forthcoming essay-film that considers how the metaphors we use to speak about illness and contagion affect the ways in which we prepare and respond to epidemics and treat those afflicted and affected by them. This podcast is part of New Models’ series for TENTACULAR (Extremophilia edition), a “festival of critical technologies & digital adventures” curated by Julia Kaganskiy and José Luis de Vicente for Matadero Madrid, 2019. FOR MORE Dis-Ease (site): www.mariamghani.com/work/1426 Dis-Ease (vid. excerpt): vimeo.com/373883845 www.eyebeam.org/eyebeam-center-fo…re-of-journalism/ tentacular.es/en/about/ Mariam Ghani is an artist, writer, ...

blue as the color of the theme of this drug this system this disease at odds with each other…

Viruses have lurked on the margins of cultural theory ever since Deleuze and Guattari suggested that “our viruses make us form a rhizome with other creatures.” According to Patricia Clough and Jasbir Puar, in the age of the internet, virality became “a form of communication and transmission across various domains: the biological, the cultural, the financial, the political, the linguistic, the technical, and computational.” In recent years, however, viral theory in the humanities and social sciences hasn’t kept pace with the scientific initiatives starting to peek into the virosphere’s vast unknown realms. This special issue of e-flux journal seeks to ...

Live recording from the opening of Goldin+Senneby’s exhibition, Insurgency of Life, at e-flux. The exhibition is on view until February 8, 2020. Goldin+Senneby is a Stockholm-based artist subject. Since 2004 their work has explored the structural correspondence between conceptual art and finance capital, drawn to its (il)logical conclusions. Recent works include a ghostwritten detective novel about an offshore company on the Bahamas (2007–15), a magic trick for the financial markets (2016), and a proposal for an eternal employment at a train station (2026–). Currently their practice is mutating: Drawing on bodily experiences of an autoimmune disease, they are staging a fiction with an “autoimmune tree” as the main ...

The second season of Overmorrow’s Library is dedicated to world-building, world-ending, and travel across worlds. Federico Campagna presents a new selection of books that might help us to appreciate the fragility of ‘worlds,’ and the art of creating new ones through a particular use of our imagination.