Christopher Williams’ show consisted of one work called ‘Bouquet for Bas Jan Ader and Christopher D’Arcangelo’ (1991). For the piece, he started with a cover of a French Elle magazine that pictured top fashion models wearing sailor hats bearing the name of each model’s origin country. Williams then invited a floral designer to create a hand bouquet using flowers from each of the countries emblazoned on the hats. He then photographed the bouquet resting on a table, and hung this framed photo on a freestanding wall constructed in Hetzler’s second floor. Williams instructed the installation photographer to document the empty first-floor gallery, since it was a part of his show. – Christopher Williams at Galerie Max Hetzler, Cologne, 1991

30 August 2018 - hyperlink - Comments Off on Christopher Williams’ show consisted of one work called ‘Bouquet for Bas Jan Ader and Christopher D’Arcangelo’ (1991). For the piece, he started with a cover of a French Elle magazine that pictured top fashion models wearing sailor hats bearing the name of each model’s origin country. Williams then invited a floral designer to create a hand bouquet using flowers from each of the countries emblazoned on the hats. He then photographed the bouquet resting on a table, and hung this framed photo on a freestanding wall constructed in Hetzler’s second floor. Williams instructed the installation photographer to document the empty first-floor gallery, since it was a part of his show. – Christopher Williams at Galerie Max Hetzler, Cologne, 1991

one pic thursday. Pilvi Takala

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The Outside Can’t Go Outside, Merlin Carpenter, HEAD Geneva lecture, April 2015

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laterpost 1995. Philippe Parreno

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wfw weekend #455

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wfw weekend #454

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Self Destruction by Retribution Body, performed and engineered by Matthew Azevedo, recorded at Torrent Engine 18, Boston MA, January 2017

19 August 2018 - music, web - Comments Off on Self Destruction by Retribution Body, performed and engineered by Matthew Azevedo, recorded at Torrent Engine 18, Boston MA, January 2017

Bernard-Marie Koltès, Roberto Zucco (1989)

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We are currently in a situation in which displacement. This permanent displacement provides a location for refusal and collective ennui. The projection of the critical moment is the political potential of the discursive. It is not a location for action, but instead provides an infinite suspension of critical moments—the opposite of performance. This is its “just-around-the-corner-ness”—a permanent interplay of micro-critical expressions within the context of a “setting.” Projects arch suspension and repression are the dominant models. There is anxiety about who controls the reshaping of the stories of the recent past. The discursive framework has been predicated upon the rejection of the idea of a dominant authored voice. Clear-cut, authored content is considered to be politically, socially, and ideologically suspect. However, there is still the feeling that stories get told, that the past is being reconfigured, and that the near future gets shaped. There is a constant anxiety within the discursive frame about who is doing this, who is marking time. The discursive is the only structure that allows you to project a problem just out of reach and to work with that permanent displacement. Every other mode merely reflects a problem, generates a problem, denies a problem, and so on. The discursive framework projects a problem just out of reach, and this is why it can also confront a socio-economic system that bases its growth upon “projections.” In the discursive art process we are constantly projecting. We are projecting that something will lead to something else “at some point.” True work, true activity, true significance will happen in a constant, perpetue realized that expose a power relationship with the culture. They achieve this through an adherence to parasitical techniques: destroying relations of production through a constant layering of profoundly differing and contradictory aims. Somehow it might be possible to bring together small groupings and create temporary, suspended, semi-autonomous frameworks. It is possible that we have seen a rise in the idea of parasitical relationships to the point where they have reached a fluid state of acceptance. We may have reached a moment of constant reoccupation, recuperation, and aimless renovation. Maybe the discursive makes possible a parasite without a host—feeding off copies of itself, speaking to itself, regenerating among its own kind. – Liam Gillick, Maybe it would be better if we worked in groups of three? Part 1 of 2: The Discursive, e-flux, January 2009

13 August 2018 - hyperlink, text - Comments Off on We are currently in a situation in which displacement. This permanent displacement provides a location for refusal and collective ennui. The projection of the critical moment is the political potential of the discursive. It is not a location for action, but instead provides an infinite suspension of critical moments—the opposite of performance. This is its “just-around-the-corner-ness”—a permanent interplay of micro-critical expressions within the context of a “setting.” Projects arch suspension and repression are the dominant models. There is anxiety about who controls the reshaping of the stories of the recent past. The discursive framework has been predicated upon the rejection of the idea of a dominant authored voice. Clear-cut, authored content is considered to be politically, socially, and ideologically suspect. However, there is still the feeling that stories get told, that the past is being reconfigured, and that the near future gets shaped. There is a constant anxiety within the discursive frame about who is doing this, who is marking time. The discursive is the only structure that allows you to project a problem just out of reach and to work with that permanent displacement. Every other mode merely reflects a problem, generates a problem, denies a problem, and so on. The discursive framework projects a problem just out of reach, and this is why it can also confront a socio-economic system that bases its growth upon “projections.” In the discursive art process we are constantly projecting. We are projecting that something will lead to something else “at some point.” True work, true activity, true significance will happen in a constant, perpetue realized that expose a power relationship with the culture. They achieve this through an adherence to parasitical techniques: destroying relations of production through a constant layering of profoundly differing and contradictory aims. Somehow it might be possible to bring together small groupings and create temporary, suspended, semi-autonomous frameworks. It is possible that we have seen a rise in the idea of parasitical relationships to the point where they have reached a fluid state of acceptance. We may have reached a moment of constant reoccupation, recuperation, and aimless renovation. Maybe the discursive makes possible a parasite without a host—feeding off copies of itself, speaking to itself, regenerating among its own kind. – Liam Gillick, Maybe it would be better if we worked in groups of three? Part 1 of 2: The Discursive, e-flux, January 2009

one pic thursday. Jenny Holzer

9 August 2018 - hyperlink, web - 1 Commentaire