Louise Lawler. Prominence Given, Authority Taken

It’s interesting, for instance, how charcoal becomes trendy today in organic and well-being food, even if it’s been fucking up generations of miner’s lungs. Some use it as a natural way to ease stomach pain and bad digestion. I prefer its vomiting effects: it’s used as an emergency treatment for certain kinds of severe poisoning and OD’s. I like that it’s presented here in the shape of a large, family-size bread we could eat of all together, while expelling all the possible mad-driving toxins. The idea of letting go, of fluidity, of opening the valves, a joyful communal diarrhea prompted me to ask the baker how we could form a sort of orifice in the bread. He folded his arm and pushed his elbow far in the middle of the fresh dough. – The Future of Not Working, Aline Bouvy in conversation with Louise Osieka, June 5, 2017

one pic monday. Richard Prince

The power of capital rests on that fiction of a present engendered by art; it is not least thanks to art that capital has become autonomous vis-à-vis politics and production. And the manifest product of this autonomy is the total aestheticization of life, politics, and (philosophical) thinking. It is in response to this aestheticization that we urgently need to consider (poetic) alternatives. – The Speculative End Of The Aesthetic Regime, Armen Avanessian, Texte Zur Kunst, Issue No. 93 / March 2014 „speculation“

Cady Noland

Arthur Jafa, APEX_TNEG, at The MIT Program in Art, Culture and Technology (ACT), on February 25, 2013 https://www.youtube.com/watch?v=TUBm2_v5RUw

wfw weekend #412

Seth Price. Wrong Seeing, Odd Thinking, Strange Action

There are very recent instances where, under the law, the wearing of natural hairstyles is not protected from discrimination. (…) In any case, these gestures of using the du-rag in my practice became an entry point for me and hopefully others to better understand the implications of the multiple behaviors, attitudes, reactions, and declarations surrounding a black aesthetic. The du-rag was banned by the National Football League and National Basketball Association in America in the late 1990s / early 2000s, and I am asking why. Because when you ask everyone why, there are a million different answers that either address respectability politics or refer to its relationship to criminality. As if the du-rag was a cause and perpetuator of violence. In the end, it’s worn to protect the hair and condition its texture. It’s similar to hair rollers, which are rarely worn outside, but black folks are creative like that and asked, why not? It became subversive, and the powers that be have been trying to shut it down ever since. – Kevin Beasley, Silence is not neutral, Mousse Magazine, June 2017

David Claerbout in conversation with Chus Martínez at Schaulager, Basel, December 2015 – https://www.schaulager.org/de/schaulager/videoarchiv/video/7

I saw him in belt and braces. He grabbed a woman by the throat. No that was a sculpture. The sculpture had a throat. And faces broken open. That was art. Where? At Leo’s. Leo who? Leo two. Or Three. – rumors and echos about Manicomio ! (2017) by Dora Budor

Bubble Paintings, Jeff Geys at Essex Street New York, 9 April – 21 May 2017 (Contemporary Art Daily)

wfw weekend #397

Laure Prouvost

The history of the joke and the tradition of jokes have always been wrapped up with questions of power. But at this moment when people — especially on the left, which includes many people in arts communities — are feeling embattled and less powerful, or with less hope, let’s say, which is another form of power in a sense, the idea of the joke becomes more useful. – VANESSA PLACE, excerpt from 500 words, Artforum, April 2017