Lucy McKenzie: Manners

The work of art aims at shattering man’s comfortable complacency. A house must serve one’s comfort. The work of art is revolutionary, the house conservative. The work of art points man in the direction of new paths and thinks to

Lucy McKenzie: Manners

The work of art aims at shattering man’s comfortable complacency. A house must serve one’s comfort. The work of art is revolutionary, the house conservative. The work of art points man in the direction of new paths and thinks to

Andrea Büttner, Re: Andacht zum kleinen

21 Oct Dear Andrea I’ve been trying to write and ask you a sensible question. This has been disproportionately and interestingly troublesome. In place of a normal conversation – a reasonable one for which there is a pre-existing template to

Andrea Büttner, Re: Andacht zum kleinen

21 Oct Dear Andrea I’ve been trying to write and ask you a sensible question. This has been disproportionately and interestingly troublesome. In place of a normal conversation – a reasonable one for which there is a pre-existing template to

Charlotte Prodger Re: Homos and light

Isla Leaver-Yap: I want to talk about the tension in your work – the tension between the aesthetic formalism of your installations and the materials it displays. This strategy initially appears to engage with early structural film and video –

Charlotte Prodger Re: Homos and light

Isla Leaver-Yap: I want to talk about the tension in your work – the tension between the aesthetic formalism of your installations and the materials it displays. This strategy initially appears to engage with early structural film and video –

Passing Time: Pat Hearn, 1980/81

In Pat Hearn’s New York Times obituary, Roberta Smith includes a short remark so casual it seems to slip in the gap between the obit’s cursory introduction and the near-legendary exploits of the late gallerist. Smith’s line, not even a

Passing Time: Pat Hearn, 1980/81

In Pat Hearn’s New York Times obituary, Roberta Smith includes a short remark so casual it seems to slip in the gap between the obit’s cursory introduction and the near-legendary exploits of the late gallerist. Smith’s line, not even a

Worker Replacement Anxiety

“Not all production is commodity production. Not all production is production for financial exchange. Not all production is determined by supply and demand. Economics is not the best method of examining non-economic production. Economists give artists bad advice.” – Freee   Why is

Worker Replacement Anxiety

“Not all production is commodity production. Not all production is production for financial exchange. Not all production is determined by supply and demand. Economics is not the best method of examining non-economic production. Economists give artists bad advice.” – Freee   Why is

“My future ain’t what it was”: Elizabeth Price’s THE TENT

Things we have understood: the world is round, the sun is bright, we will die. These are reasonable assumptions based on second-hand proofs. Here are some more things that may or may not need proof, but can be understood: what

“My future ain’t what it was”: Elizabeth Price’s THE TENT

Things we have understood: the world is round, the sun is bright, we will die. These are reasonable assumptions based on second-hand proofs. Here are some more things that may or may not need proof, but can be understood: what

Moyra Davey: Pygmalion Desire in Les Goddesses

‘A young English woman, named Mary Wollstonecraft, lived by her wits and her pen.’ (Fade to a black-and-white, medium close-up photograph of a young woman stretched out on the grass. The camera stares down on its subject, yet the assured

Moyra Davey: Pygmalion Desire in Les Goddesses

‘A young English woman, named Mary Wollstonecraft, lived by her wits and her pen.’ (Fade to a black-and-white, medium close-up photograph of a young woman stretched out on the grass. The camera stares down on its subject, yet the assured