There will be elements to see, there will be ‘too much’. It has to be too much’, not because it is important to get to see everything or spend a lot of time looking, but ‘too much’ so that the things do not lie.
—Thomas Hirschhorn
Thomas Hirschhorn, Too Too – Much Much, 2010
‘The personal’ doesn’t interest me because it’s not resistant in itself, it is always an explanation - if not an excuse. My work can only have effect if it has the capacity of transgressing the boundaries of the ‘personal’, of the academic, of the imaginary, of the circumstantial, of the context and of the contemplation.
—Thomas Hirschhorn
More from TriQuarterly’s inaugural video essay edition (Curated by John Bresland and Marilyn Freeman); October Fire by Michael Lent:
It was a brief and surreal break—palm trees, sunshine, and surfers, in winter. And then the fires. The Santa Ana winds spread wildfires toward the coastline. The mountains we needed to drive through blazed for days and days. The wildfires severely altered the landscape in a matter of weeks.
More from the premier issue Novelty of the journal Critical Contemporary Culture (London School of Economics)—Sisters Hope.
Gisèle Vienne and Dennis Cooper talk about Teenage Hallucination / Nouveau festival at the Pompidou (intro in french with content in english)
Michael Lent installation view (video projection, silk, fluorescent tubes), neither spit nor diamonds, University of Lincoln, UK, 2012
(Source: entropylincoln)
performance view, neither spit nor diamonds, entropy course, University of Lincoln, UK, 2012
(Source: entropylincoln)
installation view, neither spit nor diamonds, entropy course, University of Lincoln, UK, 2012
(Source: entropylincoln)
TEENAGE HALLUCINATION / NOUVEAU FESTIVAL opened yesterday at the Pompidou (February 22 - March 12) featuring GISÈLE VIENNE and DENNIS COOPER
This is from the premier issue Novelty of the journal Critical Contemporary Culture (London School of Economics), which is out now and definitely worth a look.
My words, Kenzie Burchell
“My Words” is a video engagement with mobility, metadata and identity. These are the recorded lists of people’s personal dictionaries on their mobile phones. In contrast to the manufacturer’s default dictionary, these words were saved into the phone when the individuals were texting. They were saved, often unconsciously, mid-process by the users because these were words not included in the default dictionary, yet used so often by the individual. The result is a localized and highly idiosyncratic portrait of each person. They were filmed with a mobile phone, seeing their list for the first time as they read it.
TriQuarterly’s inaugural video essay edition is out and definitely worth a look (Curated by John Bresland and Marilyn Freeman). Nice work and impressive venture.
How does the visceral nature of digital technology—sound, image and the sometimes cruel edgelessness of the screen—alter the writer’s relationship to language? The seven video essays in this collection, curated by John Bresland and Marilyn Freeman, raise a host of thrilling questions, not least: How is writing today different than it was yesterday? What does it mean for writers to build a text with, as Virginia Woolf once cannily advised, whatever pieces come your way?
Uta Barth
Ground #77
Chromogenic print mounted on panel
1997
David Batchelor, Idiot Stick I, 2003; Plastic bottles, polycarbonate, fluorescent light, cable
The inner life of this world was entirely hidden: nothing was allowed to spill out from its allotted space; all circuitry, all conduits, all the accumulated stuff that attaches itself to an everyday life remained concealed, held in, snapped shut. Every surface was a closed, impenetrable façade: cupboards were disguised as walls, there were no clues or handles or anything to distinguish one surface from another; just as there were no protrusions, neither was there a single visible aperture. In this way, openness really was an illusion maintained by closure, simplicity was ridiculously overcomplicated, and unadorned clarity was made hopelessly confusing. You really could become lost in this apparently blank and empty white space.
—David Batchelor, Chromophobia
(Source: jwvpk.wordpress.com)
