Finnigin Swake, Entire text of Joyce novel rendered into Star Wars crawl, DVD, Duration: 478 hours. 2010.
I remember seeing this in person and having no idea wtf it was. I liked it, though.
Photos by Emily Raw emilyraw.com
every room has an accessible history
every place has emotional attachments you can open and save
you can search for sadness in new york
paths compete to offer themselves to you
life flows into inanimate objects
the trees hum advertising jingles
everything in the world, animate and inanimate, abstract and concrete, has thoughts attached
— from Headmap Manifesto by Ben Russell
Art can offer no obvious return. Its rate of exchange is energy for energy, intensity for intensity. The time you spend on art is the time it spends with you; there are no shortcuts, no crash courses, no fast tracks. Only the experience. Art can’t change your life; it is not a diet programme or the latest guru - it offers no quick fixes. What art can do is prompt in us authentic desire. By that I mean it can waken us to truths about ourselves and our lives; truths that normally lie suffocated under the pressure of the 24-hour emergency zone called real life. Art can bring us back to consciousness, sometimes quietly, sometimes dramatically, but the responsibility to act on what we find is ours.
Holly Herndon - Chorus [Official Video] (by RVNG Intl.)
The question raised by these art fairs is: who is the consumer of art? The exhibition is open to the public (if you can fork out for the hefty entrance fee), but it has little to do with the democratic and socialist mass art that Benjamin envisaged as a result of emergent technologies of duplication. The fair is organized around the needs of a small art-buying elite for whom the artwork exists as a signal of social and cultural status or a stable repository for economic capital. Its entire point is to promote the idea of a unique and genuine work whose physical embeddedness in space and tradition justifies its price tag. Much of art criticism has given up on theorizing art in favour of justifying it. At the same time, there’s a remarkable dissolution of cultic value. One stand at Frieze Masters proudly exhibits Brueghel’s The Census at Bethlehem; there’s very little indication that the painting on show isn’t the 1566 original, but a copy by the Flemish master’s son, Pieter Brueghel the Younger. Some art critics have upbraided the fair for displaying “fakes,” but none of the viewers seemed to mind. Their phone screens flickered constantly in the darkened stall: it’s the image itself that matters. When the image is fungible and exchangeable, the fact that the actual painting itself is soon to be sold to some oil billionaire is almost irrelevant. The phone camera actively disrupts the elite’s claim to “own” art — it belongs to anyone who can take a photo of it.
— Sam Kriss, “Why Mobile Phones are Good for Art” on Full-stop
via an MIT mailing list. No photoshop, no filters. Dinosaur being delivered to science museum, 1984.
The visually dazzling video for Aheymwas made by Matthew Ritchie, one of Dessner’s longtime friends and collaborators. A painter and large-scale installation artist, Ritchie made this video by having his paintings animated. “There’s a generative, cyclical nature to the music,” Dessner observes, “and Matthew’s film has this very kinetic energy to it. And it’s full of motion, but that motion is abstract — and painterly.” That’s a good description of Dessner’s music as well: full of dense colors and small movements, provocative, powerful and beautiful.
via Actuary Lit
Plus ça change futurism
Gulf futurism, as I understand it, is conceptualised in the mould of Marinetti’s Italian futurism, and inherits many of the same touchstones. All of its seductiveness: sun, sand, and solar-sintered glassy desolation of the Arabian gulf at the extreme promontory of the millennia. All the beautiful/callous brutality, all the proto-fascism of a society that privileges success and speed over human life.
At base, Gulf futurism is “plus ça change futurism,” all wrapped up in what a friend has dubbed “flying force fields of neo-Arabness.” It’s not imagining a future so much as mapping shards of future detritus—imagery strongly defined-as-future by Western culture, as you put it—in the present. It’s an aesthetic scaffolding that reproduces all the injustices, structural degradation and racial erasures of the present.
Olafur Eliasson’s A View Becomes a Window, created for Ivorypress, is an edition of nine unique, leather-bound books containing a variety of glass pages of various colours, qualities, and degrees of opacity. When the pages are turned, the layers of coloured glass create complex reflections, so that the viewer becomes the protagonist of the book’s playful mirror narrative.