3 November 2019 - publication, web - Comments Off on Stone Butch Blues (1993), Leslie Feinberg
28 May 2019 - publication, web - Comments Off on To Live and To Think Like Pigs, The Incitement of Envy and Boredom in Market Democracies, Gilles Châtelet, 2014
21 March 2019 - publication, web - Comments Off on Injuring, Wagering, Controlling: Looking Back at a Metalanguage, Diedrich Diederichsen, 2018
13 March 2019 - publication, text - Comments Off on Kathy Acker. Blood and Guts in High School (1978)
13 March 2019 - hyperlink, publication, web - Comments Off on Notes on ‘Camp’, Susan Sontag, 1964
17 February 2019 - hyperlink, publication - Comments Off on The Exhausted (1995), Gilles Deleuze
12 February 2019 - exhibition, hyperlink, publication, web - Comments Off on LANDSCAPE MODERN OIL PAINTING CANVAS PAINTING ABSTRACT OIL PAINTING WALL HANGING, group show by Jir Sandel
19 November 2018 - art, hyperlink, publication, web - Comments Off on Towards a Metalanguage of Evil, Cady Noland, Balcon No. 4, 1989
4 November 2018 - publication, text - Comments Off on Barbara Kruger. Job Description
4 November 2018 - publication, text, web - Comments Off on Why Does Fred Sandback’s Work Make Me Cry?, Andrea Fraser, Grey Room NO. 22 / Winter 2006 p.30-47
22 October 2018 - publication, text, wfw library - Comments Off on Dominique Gonzalez-Foerster & Eva Marisaldi. Film
15 October 2018 - publication, web - Comments Off on Saw myself in film. Odd, seeing one’s self as a puppet. Heightening of mirror effect. Narcissus stirs, walks, sees himself from the back, as he cannot see and could not imagine himself. Becomes aware of a whole area indissociable from him, a host of hidden bonds, a whole Other sustaining the Same. Receives the invisible self. One is cast out of one’s self, change into another. One passes judgement upon one’s self – If it could see or perceive, through this artifice, the mind thus externalized, and from forbidden angles – what awareness would one have? What effect on one’s sense of self? To see one’s self thinking, responding, sleeping. – Paul Valéry, Ego, 1973 from On the Eve of the Future, Selected Writings on Film, Annette Michelson
15 July 2018 - art, publication - Comments Off on Once published, a Script, as a social form, is resolved only by reacting toward reactions toward it. It is an algorithmic social construction that seek to shift or create Objects, Object-relations, and social-relations within the material world in a manner that necessitates the unexpected. To embrace the unexpected is: a) to desire to see, despite knowing that there is a brutality to see (realism), b) to desire to keep moving, despite knowing that pain is certain (optimism), and c) to desire a future, despite knowing it will get worse (hope). Scripts are blueprints for unknowableness: hopeful gestures of realist optimism or optimistic realism. A Spectator engaged in Script-forming and/or Script-enacting engages with the present in order to suspend the future by imagining its alternatives. The Future is also not an Object. – The Function of a Script (in relation to a Spectactor), In Relation to a Spectator: Studio for Propositional Cinema, October 2017
7 March 2018 - hyperlink, publication - Comments Off on Art Without Rules, Texte Zur Kunst, No.109, March 2018
29 September 2017 - art, hyperlink, publication - Comments Off on Agnes Martin, Writings / Schriften (English and German Edition), Kunstmuseum Winterthur and Edition Cantz, 1991