Writing satire in the Trump era.
Four generations of unhappiness populate the French auteur’s latest.
Featuring selections by Justin Taylor, Shelly Oria, Mary Walling Blackburn, Kevin Killian, Barry Schwabsky, John Freeman, and more.
Deepak Unnikrishnan’s Temporary People and the fantastical realities of life in the Persian Gulf
Wry installations and revelatory sculptures blend art-making and activism in Chin’s unique practice of transformation.
Hovering far below any conceivable radar, Fred Dewey’s The School of Public Life ought to be the cause of more than some disturbance.
“In Counting, I was counting almost everything I encountered: street life, light, weather, animals, and some intangibles, political or social or economic currents, and certain seismic changes in my own life.”
On Michel Houellebecq’s Submission
“I can’t distill it all,” Evie Shockley confesses in her contribution to this vital and multifarious print offshoot of Claudia Rankine’s online Open Letter Project.
“What expression isn’t a negotiation of some sort?”
Seth Price’s Folklore U.S. documents a series of installations and exhibitions stemming from his dOCUMENTA (13) contribution, which included the Folklore U.S. SS12 fashion show (with collaborator Tim Hamilton), an exhibition at Hauptbahnhof, and a series of shop windows and garments for sale at SinnLeffers.
Agnieszka Kurant’s interests include various forms of surplus, invisible entities, and the phantoms haunting capitalist production. Some of her projects involve crowdsourcing, others outsourcing to nonhuman species: think colonies of termites.
Was the Internet intended for you? It’s hard to think about it structurally without throwing personal use into the mix.
I met Claudia Rankine in a parking lot after a reading, where I said crazy fan things like, “I think we see the same thing.”
We are not all Pierre Guyotat, writing of our capture and interrogation in Algerian solitary in 1962, our words and acts subject to violent retaliation, but maybe we’ve seen our own soul’s bifurcation.
Pythagoras taught behind a veil to avoid distracting his students with his bodily appearance, which he considered an impediment to their pursuit of pure knowledge. His voice was an acousmatic one—its origin could not be identified.
A fear of alienating myself from approval by revealing my truest self … a fear of not being heard, being judged, being misunderstood … These things make me tremble.
“I couldn’t have gone to Woodstock because I’m not fit to be a nudist.”