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Art

Ai Weiwei’s rhizomatic four gallery show (NYC, Fall 2016) may be the perfect opportunity to revisit the post-colonial argument brought to light by Thomas McEvilley’s review of MoMA’s 1984 exhibition  “Primitivism” in 20th Century Art. The essence of McEvilley’s inquiry being: By placing an Other in the cannon of contemporary art are
Deeply penetrative obsolete cunningness. The tubes roll on as reminiscent apocalypse. Being with forgetting. Tubes are like monster’s mouth, chasing the cars on street. The road is the aluminium foil. Being begets in forgetting its ontical illusion. Life as mere cogital expression, being with for the obsolete admonished selfhood, inertia
Soil perturbed. The landed history, of Philistine Gentiling. Darksome, as ‘‘once again’’, the greater continuity of disruption. The sky is turned towards the poet history in its totality, “throughout”. The poet bespeaks on time-zone ringing of familial domain, darkness as light’s mysterious sister. Once again the darkness “thickens”, sized quantifiable
I am reposting this article/originaly posted in WideWalls by Andrey V. It is rare for an art movement to be completely original. The go forward meanings of avant-garde do not mean that its movements are a tabula rasa and this is certainly true for Situationism. Spurred by many previous concepts,
The lane was sordid enough to call forth the untidy peddlers. Bulganin was his combo name. It appeared to us as the Soviet impoverished canon of Heroine dealings. Prolong was our desire, to erupt thence around the Bhadroloki impetus building. Niceties were the Cadbury to make the Heroine bitterness obsolete.
*The following interview of Herbert Marcuse by Larry Hartwick is reposted from the Publications Page of the Official Herbert Marcuse website, managed by Harold Marcuse. This interview, conducted in 1978, originally appeared in a locally distributed publication at the University of California, San Diego: Contemporary Literature 22(1981), 417-424 On the
Being succumbs to the delivery of zonal essays. Senses perturbed by non-knowledge. Tagorian syndrome of afilial muddy local. Yet, the husky International. Beneath the sturdy grass field, the local resonates the sounds of Global. Next phase tea-dom. Merry go round the syndicate, who’s who admonisher. Hundred kilometre north point stays,
Things appear to us in its strangeness. Objects confer to its body, as it occurs in our field of perception. This occurring is a phenomenon, whose nodal curvature we delineate from the whole body. Nodal curves prescribe the decaying reduction. The reduced phenomenon gets originary. It is setting of originary
Human as made easy tropes of planetarium for its own dissolving into the sea of galaxy. Man bifurcates between human will and God’s disavowal for knowledge. Life admonishes the will to know yet man begets the understanding of planetarium. It is in ratio with human Sun. Life’s joker like empirical
Art’s primary way of becoming art is to appear more than itself, to say, or show something more. To wrest from it, it’s semblance of more, is to question its contingency on which art is dependent. Whenever  we determine art in terms of semblance we acknowledge it and at the