20110331
20110327
DAVE HULLFISH BAILEY
What’s Left organizes research materials and speculative proposals relating to Bailey’s project “What’s left to its own devices (On reclamation)” for Casco, Office for Art, Design and Theory in Utrecht, The Netherlands. The book resists traditional categorization, but could be said to present a highly experimental geography which begins with the role of hydrological processes in creating specific spaces of sociability and private retreat. Through this lens, it cross-correlates the historic city of Utrecht and “Slab City”, an ad hoc squatters’ camp in the California desert. The mixed narratives of individual freedom and communal living associated with the latter find structural echoes in the wharves of Utrecht. These privately colonized public spaces are unique in the world, and exist only through an almost accidental intersection: that of the city’s topography (it is one of the few larger Dutch cities slightly above sea level) and the collective task of managing the regional system of canals to protect low-lying areas (the “water boards” responsible for this task are frequently cited as the first form of democratic political organization in Europe).
Micro-sites in both places are further drawn together using non-linear heuristic methods to forge links across a range of subjects: The Rietveld Schröder House, history of the Colorado River and Imperial Irrigation District, sedimentation and accumulation, delta formation, water diversion structures, barricades as tools of spatial control, DIY culture, the social functions of books and libraries, etc. Additional essays by Emily Pethick, Jan Tumlir, and Lars Bang Larsen examine the project and contextualize it against Bailey’s broader practice.
@Sternberg Press
20110325
ANDREI KOSCHMIEDER
Untitled, 2010
Spray paint on canvas
75,5 x 61 cm
Shelf R-S, 2008
Inkjet colour on cardboard
155 x 100 x 25 cm
ALICJA KWADE
Teleportation (Infrarot), 2010
glass, infrared light bulb
format variable
Andere Bedingung (Aggregatzustand 6), 2009steel, copper, glass, mirror, iron, mop stick, seven parts
format variable
Website
20110324
JOSEF ALBERS
Piano Keys, 1932"Art is revelation instead of information, expression instead of description, creation instead of imitation or repetition. Art is concerned with the HOW, not the WHAT; not with literal content, but with the performance of the factual content. The performance - how it is done - that is the content of art."
20110322
DAN SHAW-TOWN
Untitled2010
127 x 96 cm
Graphite and spray enamel on paper
Untitled2010
127 x 96 cm
Graphite and spray enamel on paper
@SEVENTEEN
SARAH CROWNER
Untitled, 2010
Oil and acrylic on canvas, sewn linen and cloth
Untitled, 2010Oil on canvas, cloth, linen, sewn
@Helena Papadopoulos
LORNA MACINTYRE
Every Phrase and Every Sentence is an End and a Beginning 2009,
Copper
The Past Has Another Pattern 2009Silver gelatin prints & enamel on steel, wooden support
@MARYMARY
20110318
ERIK WYSOCAN
Look at it this way: in a hundred years, who's gonna care?, 2005, ink on paper
(By whom will these keepers be kept?) Quis costodiat ipsos costodes? VI, 2009Light panel, polarizing film, glass, packing tape, acetate
20 x 26 x 6 inches
@ ANDREA ROSEN (backroom)
20110317
ALBERT CAMUS
"Without culture, and the relative freedom it implies, society, even when perfect, is but a jungle. This is why any authentic creation is a gift to the future."
20110316
DANIEL BUREN
In the late 1960s, Daniel Buren (French, born 1938), purposefully renouncing the artist’s studio, began adorning public spaces with his posters, the so-called affichages sauvages. The colorful vertical stripes, precisely 3.4 inches wide, have become Buren’s trademark piece, a visual tool he has used to this day. Their form is deliberately banal, devoid of content or signification. They forcefully contradict the belief in the autonomy of the work of art, instead alerting the beholder first and foremost to the site at which they are affixed. Buren thus conquered a new domain for art, one that is invisible save for these minimalist signs.
@Kunsthalle Baden-Baden
JG BALLARD TRACK 12
FROM WIKIPEDIA
"Track 12" is a short story by British author J. G. Ballard
"The story begins with Maxted, a run-down athlete, having been invited over to the home of Sheringham, a university professor of biochemistry. Despite Sheringham having asked him over to discuss business, Maxted suspects that Sheringham may be about to confront him about his wife, Susan Sheringham, with whom Maxted has being having an affair.
Throughout the course of the evening, Sheringham continues to play obscure sound recordings to Maxted, making him guess what they are (at one point he plays the amplified recording of a pin dropping). Sheringham explains he thinks microsonics is a great hobby, but it may be developing into an obsession. Maxted becomes impatient with the man he finds repulsive, and awaits the confrontation.
As Sheringham leaves the patio to play the titular last track, Maxted begins finishing off his whiskey but begins to feel a peculiar sensation in his abdomen - what feels like ice cold mercury weighing down his stomach. He becomes sluggish and disorientated as track 12 begins to play. Sheringham enters again, smiling. He explains to Maxted that he has been aware of his wife's affair, and has been recording their intimacy for some time with numerous microphones. He explains that Maxted has drunk chromium cyanate, and as Maxted slowly "drowns" internally, Sheringham reveals that the 'spongey...elastic waves lapping in a latex sea' appended with thunderous rhythms growing ever louder is an amplified recording of a kiss shared between Maxted and Sheringham's wife."
KARL POPPER
"But the secret of intellectual excellence is the spirit of criticism; it is intellectual independence. And this leads to difficulties which must prove insurmountable for any kind of authoritarianism. The authoritarian will in general select those who obey, who believe, who respond to his influence. But in doing so, he is bound to select mediocrities. For he excludes those who revolt, who doubt, who dare to resist his influence. Never can an authority admit that the intellectually courageous, i.e. those who dare to defy his authority, may be the mot valuable type. Of course, the authorities will always remained convinced of their ability to detect initiative. But what they mean by this is only a quick grasp of their intentions, and they will remain for ever incapable of seeing the difference.
-The Open Society and Its Enemies
20110315
HARSH TERRAIN//DETROIT POLICE
A preview of my debut solo record. Stream the tracks into your shitty laptop speakers @ http://jeffreyscottmathews.com/JSMmedia.html
Artist: Harsh Terrain
Album: Detroit Police
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