“I’m a believer in ‘the artist proposes and the universe disposes.’ On that meeting ground is where the important stuff happens for me, where a set of images, possibilities, dialogues with people both living and dead actually start forming.”
In one painting, I am picked up and drawn into a wild weather event, a storm of color, wind, and light.
Prior to Burn the Diaries, her exhibition at the ICA Philadelphia this fall, Davey exchanged thoughts with Paris-based writer Lebovici on autobiographical writing, the formal potential of aerograms, and scatological confessionalism.
Fitterman’s relentless, book-length new poem is composed of public articulations of loneliness harvested from online message boards.
“History has shown that universalism is a step away from totalitarianism—a deadly kind of erasure that I find horrifying. The fear of fascism undermines my sensuous relationship to those things. I often wonder, are there any other alternative aesthetics?”
“I couldn’t have gone to Woodstock because I’m not fit to be a nudist.”
“But here is what is most important to me—throwing myself into the present, the unanswerable, the unknown, the unquantifiable.”
His final play was never performed
during his life, but shortly after
Kenneth Goldsmith is a trickster for sure, not just because his work takes place on the crossroads between legal and illegal, between digital and real life, between word and image, but because he’s a man who wears a lot of hats, metaphorical and otherwise.
Novelists Siri Hustvedt and Simon Van Booy compare notes on topics ranging from temporal perception to “the soup of unconscious life” from which fictional characters arise.
Paris-based novelist Tristan Garcia, a philosopher by training, speaks with another philosopher, Sandra Laugier, about how ideas, ethics, and sex get entangled through the vivid characters in his first novel, Hate: A Romance.
In 1976 I had been making photographs for a couple of years. I had certainly been looking at a lot more photographs than I had actually made.
The first time I saw Antony perform was November 1992; he was onstage at a downtown club with Johanna Constantine and Poison Eve, two other original members of the Blacklips Performance Cult.
Danish director Thomas Vinterberg’s film The Celebration resembles Greek tragedy with a twist—influenced by French New Wave and The Godfather, winner of the Jury’s Prize at Cannes, its production was dictated by the neo-manifesto DOGMA 95.