Seth Price. 8-4 9-5 10-6 11-7

12 April 2017 - art, exhibition, hyperlink, music - Comments Off on Seth Price. 8-4 9-5 10-6 11-7

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

11 April 2017 - art, hyperlink, web - Comments Off on 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

I find it interesting, how that works. How the original and the copy, the hierarchies, and the authorities who are meant to deliver “the originals” are dependent upon the people they aim to exclude. And maybe that process has been sped up through social media and these feedback loops of exclusivity. Those feedback loops are as valid as the “real deal.” It’s also the real deal. If it exists on its own it’s no longer a copy. – ANNA UDDENBERG, Cura Magazine #24, April 2017

3 April 2017 - art, hyperlink, web - Comments Off on I find it interesting, how that works. How the original and the copy, the hierarchies, and the authorities who are meant to deliver “the originals” are dependent upon the people they aim to exclude. And maybe that process has been sped up through social media and these feedback loops of exclusivity. Those feedback loops are as valid as the “real deal.” It’s also the real deal. If it exists on its own it’s no longer a copy. – ANNA UDDENBERG, Cura Magazine #24, April 2017

The Edmund Felson Gallery can be found in Berlin on Auguststr. 19/67 from March 1st – June 31st Opening hours Thursday 5 – 7pm, Saturday 3 – 5 pm

17 March 2017 - art, hyperlink - Comments Off on The Edmund Felson Gallery can be found in Berlin on Auguststr. 19/67 from March 1st – June 31st Opening hours Thursday 5 – 7pm, Saturday 3 – 5 pm

David Hammons is on our mind.

14 March 2017 - art, hyperlink, web - Comments Off on David Hammons is on our mind.

Arriving for the opening of ERIC WESLEY’s survey-scale exhibition at the Los Angeles gallery 356 S. Mission Rd. in January 2015, visitors encountered a new Nissan parked at a rakish angle in the back lot, with its front doors ajar and music blaring from its speakers. That this was an artwork would surely never have occurred to many of those in attendance had it not been for the checklist, where it was designated Infinity Project (Black), 2015, with materials given as “clear lacquer paint on Infiniti.” (…) As a found object that was in fact rented, the vehicle could also be seen as a monument to transience and ephemerality. After the close of the show, one had to imagine the automobile undergoing a further turn in this Duchampian game of contextual transposition, mingling inconspicuously with all the other non-art cars in the rental fleet upon return. Moreover, once replaced within its original context, WESLEY’s Infiniti can only be faced with steady depreciation, the fate of all uncollected cars. – JAN TUMLIR on ERIC WESLEY, Artforum February 2017

9 March 2017 - art, hyperlink, text, web - Comments Off on Arriving for the opening of ERIC WESLEY’s survey-scale exhibition at the Los Angeles gallery 356 S. Mission Rd. in January 2015, visitors encountered a new Nissan parked at a rakish angle in the back lot, with its front doors ajar and music blaring from its speakers. That this was an artwork would surely never have occurred to many of those in attendance had it not been for the checklist, where it was designated Infinity Project (Black), 2015, with materials given as “clear lacquer paint on Infiniti.” (…) As a found object that was in fact rented, the vehicle could also be seen as a monument to transience and ephemerality. After the close of the show, one had to imagine the automobile undergoing a further turn in this Duchampian game of contextual transposition, mingling inconspicuously with all the other non-art cars in the rental fleet upon return. Moreover, once replaced within its original context, WESLEY’s Infiniti can only be faced with steady depreciation, the fate of all uncollected cars. – JAN TUMLIR on ERIC WESLEY, Artforum February 2017

Puppies Puppies is inevitably the work of a person born during the rise of the Internet. The rhythm of their life has been established by machines. In some ways, this contradicts the personal and the emotional. But the Internet, especially in the beginning, was also deeply involved with intimacy and emotional connection between strangers. Sex with strangers reveals something very deep about human existence, and maybe coming to know some artists and their activity is like having sex with strangers. – Forrest (husband of Puppies Puppies) in conversation with Tenzing Barshee, Mousse 57 (February–March 2017)

15 February 2017 - art, hyperlink, web - Comments Off on Puppies Puppies is inevitably the work of a person born during the rise of the Internet. The rhythm of their life has been established by machines. In some ways, this contradicts the personal and the emotional. But the Internet, especially in the beginning, was also deeply involved with intimacy and emotional connection between strangers. Sex with strangers reveals something very deep about human existence, and maybe coming to know some artists and their activity is like having sex with strangers. – Forrest (husband of Puppies Puppies) in conversation with Tenzing Barshee, Mousse 57 (February–March 2017)

http://gossipsweb.net: a database of alternative art spaces

14 February 2017 - art, hyperlink - Comments Off on http://gossipsweb.net: a database of alternative art spaces

The Peshmerga offensive is a massive engineering enterprise, a monumental Land art operation. Behind each platoon there is a bulldozer waiting. Every hundred meters of gained territory results in hundreds of tons of dry earth pushed forward, all in order to move the front line ever closer to the suburbs of Mosul. Landscape is refashioned daily by the shelling, ISIS’s tunnels are behind, under, and beyond our mobile front line; the dunes are scarred by the infinite lines of trenches while on the Syrian-Iraqi border ISIS’s bulldozers breach a passage through a hill to erase the Sykes–Picot Agreement’s fatal design. The desert is no longer an exotic escape. It’s pure naked exposure. The closest to protection from the snipers is by running from one shadow to another. – Francis Alÿs on his embedment with the Kurdish Army in Mosul, Artforum, February 9, 2017

12 February 2017 - art, hyperlink, web - Comments Off on The Peshmerga offensive is a massive engineering enterprise, a monumental Land art operation. Behind each platoon there is a bulldozer waiting. Every hundred meters of gained territory results in hundreds of tons of dry earth pushed forward, all in order to move the front line ever closer to the suburbs of Mosul. Landscape is refashioned daily by the shelling, ISIS’s tunnels are behind, under, and beyond our mobile front line; the dunes are scarred by the infinite lines of trenches while on the Syrian-Iraqi border ISIS’s bulldozers breach a passage through a hill to erase the Sykes–Picot Agreement’s fatal design. The desert is no longer an exotic escape. It’s pure naked exposure. The closest to protection from the snipers is by running from one shadow to another. – Francis Alÿs on his embedment with the Kurdish Army in Mosul, Artforum, February 9, 2017

The distrust of abstractions (…) finds expression in a widespread reduction of cultural ideas and activities to psychobiography. We are invited to see the ‘inner life’ of individuals as the most authentic level of reality.- Mark Fisher, Real Abstractions / The application of theory to the modern world, for Frieze Magazine, January 16, 2017

6 February 2017 - art, hyperlink, text - Comments Off on The distrust of abstractions (…) finds expression in a widespread reduction of cultural ideas and activities to psychobiography. We are invited to see the ‘inner life’ of individuals as the most authentic level of reality.- Mark Fisher, Real Abstractions / The application of theory to the modern world, for Frieze Magazine, January 16, 2017

Gregor Schneider: Wall Before Wall is on view at Bundeskunsthalle Bonn until February 19, 2017

2 February 2017 - agenda, art, exhibition, hyperlink - Comments Off on Gregor Schneider: Wall Before Wall is on view at Bundeskunsthalle Bonn until February 19, 2017

These photographs are primarily operative on the level of their content, which is less the subjects depicted or any psychology their bodies might convey but, rather, the gamut of technical tropes and possibilities within studio photography today. And it is through this seeming evacuation of conventional content via formal manipulation, that these shots shed light on our current relation to the world of images. – ILYA LIPKIN on the Photographic Real, 30 January 2017, Texte Zur Kunst

30 January 2017 - hyperlink, text, web - Comments Off on These photographs are primarily operative on the level of their content, which is less the subjects depicted or any psychology their bodies might convey but, rather, the gamut of technical tropes and possibilities within studio photography today. And it is through this seeming evacuation of conventional content via formal manipulation, that these shots shed light on our current relation to the world of images. – ILYA LIPKIN on the Photographic Real, 30 January 2017, Texte Zur Kunst

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