HOME COOKING
is a digital artist-run space started in March 2020 featuring activities, movement, music, poetry, video, and more.
ARCHIVED EVENTS
Vimeo: http://vimeo.com/homecooking
YouTube: https://www.youtube.com/channel/UC6YIZQnG2uEZ91h_fKnwoZA
SERVED ALREADY
ONGOING & UP NEXT
TBA!
The following pages give space to Home Cooking contributors:
Adrian Villar Rojas
Aria Dean
Ari Marcopoulos
Dara Birnbaum
Elisabeth Efua Sutherland & Emelia Dartey
Johanna Makabi & Eden Tinto Collins
nullo (Parma Ham & Salvia)
Sandhya Daemgen & Martin Hansen
Sohrab Mohebbi
Tyla Lauren
Xavier Le Roy
Yuri Pattison
25–26 March 2020
M A R I A N N A S I M N E T T
Homebound Bat
Marianna Simnett
Watercolour pencil and ink on paper
March 2020
How Can One Change Oneself
EMILIA and ILYA KABAKOV
2000
WINGS PLAYLIST
https://open.spotify.com/playlist/2mXwhCoJujSNdNSBI6ISre?si=JcoCqIamTHeAnMljXlQscg
March–April 2020
S T É P H A N I E S A A D É
DAYS SPENT INSIDE MINUTES
1 instagram intervention a week for 7 weeks, starting Friday March 27 at 12:00 CET
CALENDAR OF INTERVENTIONS:
MARCH 2020
Posted on Friday March 27, 2020 at 12:00 CET
Altered screenshot of the March 2020 IPhone calendar
Our perception of time is unusual these days. Time is slower but also flatter and it makes no difference which day it is. Our relationship to days is more democratic: no one loves Fridays or hates Mondays anymore. Having no schedule makes the week look like it's composed of Saturdays and Sundays. On the IPhone calendar there is a color distinction between the weekdays and the weekend: the weekdays are in black and the weekend is in grey. As if to allude to activity and inactivity, duty and leisure. Now, whether S refers to Saturday or to Sunday is no longer clear. Does it matter?
“Imagine that the holidays begin on the first of January and end on the 31stof December.”
Lampwick to Pinocchio in Giorgio Agamben, Infancy and History, 2011.
WHERE EYES REST
Posted on Thursday April 2, 2020 at 12:00 CET
10 digital drawingS, 25 x 40 cm each.
Drawings are made after the observation of hair fallen in a defined space between March 22 and March 29, 2020. An archive of these usually trivial occurrences is initiated. Format corresponds to that of the tiles they fell on.
DAYS SPENT INSIDE MINUTES
Posted on Wednesday April 8, 2020 at 12:00 CET
Poem
PRE-POST-QUARANTINE NOSTALGIA
MASK-HAMMOCK
Posted on Tuesday April 14, 2020 at 12:00 CET
Digital photograph
THE FIRST SECOND OF THE FIRST MINUTE OF THE LAST HOUR OF THE LAST DAY
Posted on Monday April 20, 2020 at 12:00 CET
I remembered that in high school, when time would seem interminable in class, I would colour my watch’s glass with my fountain pen and then erase the minutes that had passed with an ink eraser. I re-enacted it using a watch that my uncle gifted me. He told me that he had bought it the year I was born.
A MAP OF MY NEIGHBOURHOOD SEEN THROUGH MY HANDKERCHIEF
Posted on Sunday April 26, 2020 at 12:00 CET
Outside space shrinks when we have no access to it anymore. It seems empty, not only of people but of possibilities: the doors of places usually frequented are closed and so are those of family members and friends. Without stopping places, the map becomes blurry and undefined.
In the legend of the foundation of Carthage, Elissar, princess of Tyre, flees her city after the murder of her husband Acherbas. When she arrives on the North African coast, she is allowed to occupy as much land as one cowhide can cover. By cutting the skin in the thinnest possible strips and placing them side by side, she obtains the territory of Byrsa.
Today, it’s as if the strips had gone back into place. The neighbourhood feels as vast as a cowhide, or even a handkerchief.
THERE WERE HOURS THAT WERE OURS
Posted on Saturday May 02, 2020 at 12:00 CET
From 12:00 till 13:00, a digital clock is turned over whenever the time is legible upside down, and still corresponds to a real time unit.
Screen shot, film 1
Screen shot, film 1
29 March 2020
P R E M K R I S H N A M U R T H Y
Present! v.1.0.0 - v.1.0.5
Screen capture of Zoom event, 29 March 2020:
(Via The Rodina)
3 April 2020
M O R I A H E V A N S
Photo: Permutations of movement strategies for the vibration mode of organ work developed for Figuring (2018, SculptureCenter) with Lizzie Feidelson, Nicole Mannarino and Sarah Beth Percival
222 Ways to Get Inside Yourself
A verbally directed series of instructions for doing organ work. What is organ work? A movement practice designed to generate dancing from infinite internal points inside the flesh of organs.
Required: speculation, imagination and sensation.
Fridays at noon NYC / 6pm Berlin
Each session lasts 40 minutes
Week 1: April 3: Vibration
Week 2: April 10: Drawing
Week 3: April 17: Rhythm
Week 4: April 24: Electrocution
Week 5: May 1: Displacement
Week 6: May 8: Organ Animation & Organ Organism
April 4 2020
L E I S A I T O
Performances LIVE series / Saturdays at 7pm Paris or 1pm at NYC
Introduction
FR
En marchant dans le silence de Paris radieux, empli de verdure nouveau-née scintillante,
l’image m’est venue du confinement comme un germoir des fantasmes…
Nos fantaisies sont sans limite, poussent partout au printemps, deviennent obsession.
Et cet homme de Dürer, poilu verdoyant.
Essayage de quelques performance Yuji s / LIVE ?
1. Graines de grenade / début de fantaisie
2. Graines germées / réveil
3. Levure / fantasmes de plus en plus volumineux
4. Marmelade de pissenlit / concentré d’idées
Cet homme poilu verdoyant est à la fois habillé en feuillage et nu.
A poil / poilu ?
EN
Walking in the silence of radiant Paris, crammed with sparkling new born greenery,
the image came to me out of confinement like a germinator of illutions...
Our fantasy has no limit and starts growing everywhere in spring, then becomes obsession.
And this green hairy man in a painting by Dürer.
Here are a few performances I might be doing:
1. Pomegranate seeds / Early fantasy
2. Sprout / Awakening
3. Yeast / Fantasy: More and more voluminous
4. Dandelion Marmalade / Extract of Ideas
Is this man covered by leaves or are these green things part of his body?
Detail of Portrait d'Oswald Krell (50x39 cm)
Alte Pinakothek de Munich, 1499, Albrecht Dürer
Ivy dress for Petit déjeuner royal pour les early risers, Rijksakademie, Amsterdam, 2010
Lei Saito
L E I S A I T O
Lei SAITO / Performances LIVE series / Saturdays at 7pm Paris or 1pm at NYC
Grenade / April 4 2020
Week 1
(FR)
Dans la Torah, on dit que le nombre de commandements correspond à celui de graines dans une grenade.
J’ai compté 365 des graines qui est le nombre de « ne pas faire », les « interdits ».
Après les avoir ingérés, consommés, et dévorés, il faut maintenant compter les « devoir » ... ce qu' il nous reste à faire dès demain !
(EN)
In the Torah, it is said that the number of commandments corresponds to that of the seeds in a pomegranate.
I counted 365 seeds, which is the number of ‘do nots’, the ‘forbidden’.
After having ingested them, consumed them, and devoured them, we must now count the ‘duties’... what remains for us to do as of tomorrow!
Lei SAITO / Performances LIVE series / Saturdays at 7pm Paris or 1pm at NYCUntitled / May 2 2020
Sprout / April 11 2020
Week 2
Yeast / April 18 2020
Week3
Dandelion / April 25 2020
Week4
Jam / May 2 2020
Week 5
Rain / May 9 2020
Week 6
P R E M K R I S H N A M U R T H Y
From April 6 2020: every Monday
B.I.T. B u r e a u o f T r a n s l a t i o n
Do you have business for the B.I.T Bureau of Translation?
The B.I.T Bureau of Translation will be open for business, by appointment, every Monday at 19:00 CEST for one hour. To make an appointment, please email BITTranslationBureau@gmail.com
The B.I.T Bureau of Translation is Jen Brodie, Jack Cox & Olivia Fairweather.
April 2020
A L I C E H E Y W A R D
Body Crying
A series of guided crying practices, working physical mechanisms to shift attention from thought to body. This is not necessarily about lamenting what causes us to cry, and it’s not an acting workshop. We try to practice crying—not only as something that is caused—as an affectual cause itself.
We will continue with readings from ‘The Crying Book’ by Heather Christle, listening through a choreography of slow stretching and resting. Required: Body, voice; sensation, listening.
Every Wednesday until the end of The Crying Book.
9pm Melbourne (GMT+10), 1pm Berlin (GMT+2), 7am New York (GMT-4)
1 hour sessions.
Alice Heyward and Megan Payne, rehearsal 2020.
READINGS
May 6th - no reading, rest of the book coming next week :-)
May 13th, May 13th, pg. 80-105
BREATH, April 8th: https://vimeo.com/405775293 (pw: bodycryingone)
SIREN SOB, April 15th: https://vimeo.com/409423173 (pw: bodycryingtwo)
FALLING THROUGH, April 22nd: https://vimeo.com/410621491 (pw: bodycryingthree)
CRY CROUCHES BELOW YOUR TONGUE, April 29th: https://vimeo.com/413144320 (pw: bodycryingfour)
SELF-MASSAGE, May 6th: https://vimeo.com/415513034 (pw: bodycryingfive)
SILENT CRY, May 13th: https://vimeo.com/418104471 (pw: bodycryingsix)
Crying playlist:
https://open.spotify.com/playlist/2CdgTHSLsEASaqHBwLM0tB?si=JH81B1ZXTWelHlyWYDiThA
April 20 2020
A T H E N A P A P A D O P O U L O S
24 April 2020
A G N I E S Z K A K U R A N T
Collective Intelligence
A chat / presentation about collective intelligence, the erosion of individual authorship, redistribution, and the ways in which Coronacene and the economic crisis call for re-thinking of how art should be produced, shared, used and owned. Together with the typographer Radim Pesko we launch our collective intelligence artwork / typeface: Emergence and a profit-sharing-based poster project crowdsourced to artists, writers and thinkers. With special guests: sociologist Janek Sowa and theorist Stephen Wright.
Watch the video here:
April 2020
P R E C I O U S O K O Y O M O N
Sky song
12 April 2020
P R E M K R I S H N A M U R T H Y
https://bit.ly/2xhIWA9
22 April 2020
B A R R Y M C H U G H
Interview: Mateja Smic
The Crimson Period, Mateja Smic
23 April 2020
P H I L I P P E P A R R E N O
Snow Dancing Again
22 April 2020
A S A D R A Z A
Coffee Balzac’s Way
18 April 2020 - 6PM CEST / 12PM EST
D O R A B U D O R
S O U P D I A R I E S
Between canned goods and fresh herbs; some words on the cuisine’s kindest course,
a Quarantine of One’s Own, and a daily dispatch from Chinatown NY. Live
13 April 2020
A R I B E N J A M I N M E Y E R S
Swirl of the Void
“This is a composition meant to be performed in duet with oneself by holding up the score and singing in front of a mirror. Ideally in the bathroom, where we sound our best."
April 16 2020
H A N S U L R I C H O B R I S T
I N T E R V I E W E D
INTERVIEW pt. 1 with Asad Raza features discussions of World Soup, do it, Édouard Glissant, Hotel Carlton Palace, Cloaca Maxima, Laboratorium, the New New Deal.
INTERVIEW pt. 2 with Asad Raza features discussions of the New New Deal, rituals, and more
April 2020
K O R A K R I T
A R U N A N O N D C H A I
MAKE MEMORY SAUCE AND INTRODUCE YOU TO MY PETS
April 27 2020
L Y D I A O U R A H M A N E
walk in the fennel
May 2020
S A H R A M O T A L E B I
Inter-voice (2018-2020), is a pedagogical vocal experiment. It is for everyone, a script to be run for individuals and groups of people that dissolves relational thresholds between teaching and learning, between (digital) representation and abstraction, performativity and spectatorship, improvisation and the compositional, expressivity and text (ha!), our interior and public world/s, etc.
For anyone taking notes, or drafting a project statement, amassing a digital archeology of data and text materials for exhibition or education purposes, this prompt is yours too — but in exchange for the contribution of your own participation. One does not participate for participation’s sake, or author for authorship’s sake—either would be a conscription of one’s signal to the broader noise—but because one comes to find that this experience cannot thrive without the metabolization of it within one’s own organism. And from there the script for receiving and giving one’s voice is replicated and is shared, not for just one person, but for everyone. “Readings” from this work will take place at 1pmCDT for three Saturdays. Meet you there. | ‹ |
May 2020
S A H R A M O T A L E B I
May 2020
S A H R A M O T A L E B I
May 2020
S A H R A M O T A L E B I
May 2020
S A H R A M O T A L E B I
May 2020
S A H R A M O T A L E B I
Saturday 9, 16, 23 May
1pm Marfa, Tx / 2pm NYC / 20 hr Paris
Images:
Diaphragm Cross-Section, Heatlhline.com
Breath Diagram, 2018
Diaphragm model, 123rf.com
Larynx, visiblebody.com
Respiratory Model, cgtrader.com
Inter-voice (2018-2020)
May 2020
T I F F A N Y S I A
Hell is a Timeline
- Hell is a Timeline [On Citizenship in Entropy], May 2, 2020.
- Hell is a Timeline [On Time in Crisis], May 9, 2020.
- Hell is a Timeline [With Fire, We Build], May 16, 2020.
- Hell is a Timeline [Grief Brings Reckoning], May 22, 2020.
- Hell is a Timeline [The Spectacle is a Weapon], May 30, 2020.
- Hell is a Timeline [The Violent Fictions of Maps], June 6, 2020.
- Hell is a Timeline [Redaction as Revelation and Amnesia], June 13, 2020.
- Hell is a Timeline [The Crisis of Our Lived Myths], July 4, 2020.
- Hell is a Timeline [Crisis of Our Resistance Imagination], July 11, 2020.
- Hell is a Timeline [Fear As A Weapon And A Shadow], July 18, 2020.
- Hell is a Timeline [The State Names Violence], July 25, 2020.
- Hell is a Timeline [The Body in Crisis], September 26, 2020.
- Hell is a Timeline [The Exile and The Crisis of Placehood], October 10, 2020.
- Hell is a Timeline [Crisis of Origin Stories], October 24, 2020.
- Hell is a Timeline [The Crisis of Legitimacy], November 21, 2020.
Hell is a Timeline [On Citizenship in Entropy]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
May 2nd: A series of selected texts to confront living through entropic timelines and the urgency to embody a new “citizenship.” How must we, out of duty, embody a new political language when we reemerge? Texts include Lauren Berlant’s Theory of Infantile Citizenship, Achille Mbembe’s Necropolitics and On the Postcolony, Ben Anderson’s Modulating the Excess of Affect: Morale in a State of “Total War,” among others.
Key words: Civic construction; political agency, citizenship; state-building; necropolitics
Hell is a Timeline [On Time in Crisis]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
May 9th: This week’s readings will focus on the struggles to scale time during crisis. We live between its varying modes and abrupt changes: 24-hour news cycles across time zones, durations of mourning, the banality of lived time, flashes of history, the intoxicating flows of disinformation, and more. There can no longer be one way to process time. Texts include Lisa Baraitser, Jasbir Puar, Wu Hung and more.
Keywords: temporality; time; care; news cycles; dread; illness
Hell is a Timeline [With Fire, We Build]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
May 16th: This week’s readings will be on the topic of burning of worlds and the building of worlds—on subversive logistics, a short history of mutual aid, and anger as a lubricant for revolution. Upon the collapse of states and institutions, how must we collectively build new, folk infrastructures to survive? I’ll be reading from texts by Sylvia Federico, Arjun Appadurai, Dean Spade and James Baldwin. With fire, we build.
Keywords: Mutual aid; activism; care; anger; commons
Hell is a Timeline [Grief Brings Reckoning]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
May 22nd: A series of texts are presented to unpack the politics of mourning and turn us towards the ghosts of history. What is the process of mourning, as Freud mentions, for such objects as “one’s country or political ideal”? Grief brings to light a reckoning. This week’s readings will pull from texts by Ackbar Abbas, Avery Gordon and Judith Butler.
Keywords: Mourning; grief; ghosts; haunting; postcoloniality
Hell is a Timeline [The Spectacle is a Weapon]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
May 30th: The image of crisis demands urgency. It requires a response. Yet as the spectacle seems to lay bare this moment, it becomes an increasingly contentious subject. Underneath the illusion of simplicity of an image lies anything but. Through a series of select texts read aloud, I will be presenting the ways in which the spectacle is woven into fictions by states, as well as interests of capital.
Keywords: Spectacle; capital; misinformation; empathy; terror machines; white gaze
Hell is a Timeline [The Violent Fictions of Maps]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
June 6th: We must uncouple from the parochial view of the world, our histories, and see crisis across geographies as deep entanglement. To believe that crisis happens in isolation, without effect by other places or upon other places, that each problem is isolated by the very confines of a border or concept of a nation-state, is the liberal re-configuration of the greater history of empires and colonialism of the last few hundred years. In this reading, I will be presenting various texts that disassemble the fiction and present anew the very frameworks of crisis narrative.
Keyword: Geography, colonialism, postcolonial; relations
Hell is a Timeline [Redaction as Revelation and Amnesia]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
June 13th: This week’s readings focus on the meaning of political visibility and its strategic concealment. Various texts are read aloud that unravel the ethics of redaction and the revelation of the glitch. These texts demonstrate both the subversive’s creativity in thwarting surveillance, as well as the state’s use of redaction as a coercive method of complicating public consent and erasing collective memory.
Keyword: Redaction; censored; surveillance; police abolition; resistance; Black Lives Matter; liberalism; folk infrastructure
Hell is a Timeline [The Crisis of Our Lived Myths]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
July 4th: This week’s readings focus on the intoxication of lived myths. From state coercion, to disinformation, to epistemicide, this July 4th, various texts are read aloud that confront the crisis of information and our narratives.
Keywords: Myths, state coercion; deep state; shallow state; disinformation; epistemicide
Hell is a Timeline [Crisis of Our Resistance Imagination]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
July 11th: This week’s readings focus on the crisis of our subversive aspirations. From utopias, to decolonize frameworks, to desires of belonging, and even the romanticism of entropy–various texts are read aloud to confront the need to disassemble the monoliths of our resistance imagination.
Keywords: utopias; decolonization; diaspora; ethnonationalism; commons; ruins; empires
Hell is a Timeline [Fear As A Weapon And A Shadow]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
July 18th: This week’s readings focus on the subject of fear itself. Various texts are read aloud to unravel the theater of state-sponsored terror and the disappeared who haunt our timelines and histories. Terror is an elusive force. It is powerful, because it weaponizes trauma and yet often bears no logical sense. Because of this topic’s expansiveness, there will be more than one upcoming session dedicated to the subject.
Keyword: totalitarianism; fear politics; white terror; statecraft; Necropolitics
Hell is a Timeline [The State Names Violence]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
July 25th: This week’s readings continue from the last to examine further the nature of fear as a state tool. Violence is named by the state. Various texts are read aloud to unravel the state’s claim to, monopoly of and outsourcing of violence.
Keyword: state coercion; state violence; policing; Black Lives Matter; necropolitics; violent entrepreneurs; armed groups
Hell is a Timeline [The Body in Crisis]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
September 26th: Back from a hiatus and now on a biweekly cadence, Hell is a Timeline returns with this week’s readings on unraveling the body in crisis. Select texts are read aloud to confront the body in pain, illness and trauma.
Keyword: body; illness; tear gas; miscarriage; refugee crisis; torture; pain; trauma
Hell is a Timeline [The Exile and The Crisis of Placehood]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
October 10th: This week’s readings confront the crisis of placehood. Through the lens of the exile and the migrant, select texts are read aloud on the price of banishment, the postcolonial expansion of national citizenship and the dilemma of acculturation.
Keyword: Exile; trauma; belonging; citizenship; migrants; refugee crisis
Hell is a Timeline [Crisis of Origin Stories]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
October 24th: This week’s readings confront the crisis of origin stories. Texts are read aloud that unsettle these falsehoods and myths: From interrogating the Enlightenment in the context of Europe’s simultaneous colonial enterprises; to challenging the origin stories of Christianity through a critical Indigenous lens; to unraveling the legal premise of the modern constitutional state. And a surprise at the end.
Keyword: origin stories; religion; enlightenment; postcolonial; state-building
Hell is a Timeline [The Crisis of Legitimacy]
Reading aloud is a tool of pedagogy and care. A series of texts are presented to confront living through entropic timelines, and how we must emerge transfigured.
November 21st: This week’s readings confront the crisis of legitimacy. Various texts are read aloud that challenge this notion, spanning state and corporate sovereignty, the legitimacy of non-state armed groups, to bastard culture in media practice.
Keywords: corporate sovereignty; open-source software; armed groups; United Nations; legitimacy; rule of law
Hell is a Timeline – Complete Bibliography
Hell is a Timeline [On Citizenship in Entropy], May 2, 2020. | Key words: Civic construction; political agency, citizenship
Boal, Iain A., Clark, T.J., Matthews, J. L. Matthews, Watts, Michael. Afflicted Powers: Capital and Spectacle in a New Age of War. Verso, 2006.
Berlant, Lauren. “Theory of Infantile Citizenship.” The Queen of America Goes to Washington City: Essays on Sex and Citizenship. Duke University Press, 1997.
Culp, Robert. “Articulating Citizenship: Civic Education and Student Politics in Southeastern China, 1912-1940.” Harvard University Press, 2007.
Mbembe, Achille. On the Postcolony. University of California Press, 2001.
Mbembe, Achille. Necropolitics. Duke University Press, 2003.
Mbembe, Achille. Necropolitics. Duke University Press, 2019.
Tarkovsky, Andrey. Sculpting in Time: Tarkovsky The Great Russian Filmmaker Discusses His Art. University of Texas Press. 1989.
Wan, Amy J. Producing Good Citizens. University of Pittsburgh Press, 2014.
Hell is a Timeline [On Time in Crisis], May 9, 2020. | Keywords: temporality; time; care; news cycles; dread; illness
Baraitser, Lisa. Enduring Time. Bloomsbury Academic, 2017.
Edwards, David, et al. Propaganda Blitz: How The Corporate Media Distort Reality. Pluto Press, 2018.
Glissant, Édouard. Caribbean Discourse: Selected Essays. University Press of Virginia, 1989.
Goldberg, David Theo. “In the Grip of Dread.” Los Angeles Review of Books, 9 Sept. 2018, lareviewofbooks.org/article/in-the-grip-of-dread/.
Hoffman, Amy. Hospital Time. Duke University Press, 1997.
Mbembe, Achille. On the Postcolony. University of California Press, 2001.
Puar, Jasbir K. Terrorist Assemblages: Homonationalism in Queer Times. Duke University Press, 2017.
Wu, Hung. “Remaking Beijing: Tiananmen Square and the Creation of a Political Space.” MCLC Resource Center, 4 Apr. 2015, u.osu.edu/mclc/book-reviews/remaking-beijing-tiananmen-square/.
Hell is a Timeline [With Fire, We Build], May 16, 2020. | Keywords: Mutual aid; activism; care; anger; commons
Appadurai, Arjun. Globalization. Duke University Press, 2003.
Baldwin, James. Nothing Personal
Berlant, Lauren. The Commons: Infrastructures for Troubled Times
Delanda, Manuela. War in the Age of Intelligent Machines.
MIT Press, 1991
Lorde, Audre. The Uses of Anger.
Mishra, Pankaj. Age of Anger: A History of the Present. Picador, Farrar, Straus and Giroux, 2018.
Spade, Dean. Solidarity Not Charity: Mutual Aid for Mobilization and Survival, in Friendship as Social Justice Activism. University of Chicago Press
Hell is a Timeline [Grief Brings Reckoning], May 22, 2020. | Keywords: Mourning; grief; ghosts; haunting; postcoloniality
Abbas, M. A. Hong Kong: Culture and the Politics of Disappearance. University of Minnesota Press, 2008.
Bacchetta, P., et al. Global Raciality: Empire, Postcoloniality, Decoloniality. Routledge, Taylor & Francis Group, 2019.
Butler, Judith. Precarious Life: the Powers of Mourning and Violence. VERSO, 2020.
Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. University of Minnesota Press, 2011.
Liu, Xiaobo, et al. No Enemies, No Hatred: Selected Essays and Poems. Belknap Press of Harvard University Press, 2013.
Hell is a Timeline [The Spectacle is a Weapon], May 30, 2020. | Keywords: Spectacle; capital; misinformation; empathy; terror machines
Boal, Iain A., T. J. Clark, Joseph Matthews, and Michael Watts. Afflicted Powers: Capital and Spectacle in a New Age of War. Verso Books, 2005.
Federici, Silvia, and Peter Linebaugh. Re-Enchanting the World: Feminism and the Politics of the Commons / Silvia Federici ; PM Press, 2018.
Hartman, Saidiya V. Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America. Oxford University Press, 2010.
Tilly, Charles, et al. War Making and State Making as Organized Crime. Cambridge University Press, 1985.
Williams, Evan Calder. Shard Cinema. Watkins Media Limited, 2017.
Hell is a Timeline [The Violent Fictions of Maps], June 6, 2020. | Keyword: Geography, colonialism, postcolonial; relations
Glissant Édouard. Poetics of Relation. Univ. of Michigan Press, 2010.
Lowe, Lisa. The Intimacies of Four Continents. Duke University Press, 2015.
Massey, Doreen Barbara. Geography Matters!: a Reader. Cambridge University Press, 1984.
Hell is a Timeline [Redaction as Revelation and Amnesia], June 13, 2020. | Keyword: Redaction; censored; surveillance; police abolition; resistance
Lee, Pamela M. Think Tank Aesthetics: Mid Century Modernism, the Cold War, and the Neoliberal Present. The MIT Press, 2020.
Linnemann, Travis and Corina Medley. Black sites, “dark sides”: War power, police power, and the violence of the (un)known”
McKittrick, Katherine. Demonic Grounds Black Women and the Cartographies of Struggle. University of Minnesota Press, 2006.
Nesrellah, Melissa. The Mirrored Shield as Indigenous Fugitivity and Radical Glitchfrastructure
Hell is a Timeline [The Crisis of Our Lived Myths], July 4, 2020. | Keywords: Myths, state coercion; deep state; shallow state; disinformation; epistemicide
Davenport, Christian. Media Bias, Perspective, and State Repression: the Black Panther Party. Cambridge University Press, 2010.
Lindsey, Jason Royce. The Concealment of the State. Bloomsbury, 2013.
Santos, Boaventura de Sousa. Epistemologies of the South: Justice against Epistemicide. Routledge/Taylor & Francis, 2017.
Santos, Boaventura de Sousa. The End of the Cognitive Empire: the Coming of Age of Epistemologies of the South. Duke University Press, 2018.
Hell is a Timeline [Crisis of Our Resistance Imagination], July 11, 2020. | Keywords: utopias; decolonization; diaspora; ethnonationalism; commons; ruins
Chow, Rey. Writing Diaspora. Indiana University Press, 1993.
Moten, Fred, and Stefano Harney. A Poetics of the Undercommons. Sputnik & Fizzle, 2016.
Stoler, Ann Laura. Imperial Debris: Reflections of Ruins and Ruination. Blackwell, 2008.
Tuck, Eve, and Yang, K Wayne. Decolonization Is Not a Metaphor.
Hell is a Timeline [Fear As A Weapon And A Shadow], July 18, 2020. | Keyword: totalitarianism; fear politics; white terror
Arendt, Hannah. The Origins of Totalitarianism. Harcourt Brace, 1985.
Chen, Ketty W. Disciplining Taiwan: The Kuomingtang’s Methods of Control During the White Terror Era (1947-1987). Taiwan International Studies Quarterly, Vol. 4, No. 4, Winter 2008. 185-210.
Gordon, Avery. Ghostly Matters: Haunting and The Sociological Imagination. University of Minnesota Press, 2011.
Ma, Jean. Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong Univ. Press, 2010.
Hell is a Timeline [The State Names Violence], July 25, 2020. | Keyword: state coercion; state violence; policing; Black lives matter; necropolitics; violent entrepreneurs; armed groups
Ong, Lynette H. “Thugs for Hire: Subcontracting of State Coercion and State Capacity in China”
Maynard, Robyn. Policing Black Lives: State Violence in Canada from Slavery to the Present. Fernwood, 2017.
Mbembe, Achille. Necropolitics. Duke University Press, 2019.
Volkov, Vadim. Violent Entrepreneurs: The Use of Force in The Making of Russian Capitalism. Cornell University Press, 2002.
Hell is a Timeline [The Body in Crisis], September 26, 2020. | Keyword: body; illness; tear gas; miscarriage; refugee crisis; torture; pain; trauma
Lewis, Sophie. “Amniotechnics.” Full Surrogacy Now: Feminism against Family. Verso, 2020. 342–349.
Lazard, Carolyn. “How to Be a Person in the Age of Autoimmunity.” Carolyn Lazard, 2013, static1.squarespace.com/static/55c40d69e4b0a45eb985d566/t/58cebc9dc534a59fbdbf98c2/1489943709737/HowtobeaPersonintheAgeofAutoimmunity+%25281%2529.pdf.
Physicians for Human Rights, Weaponizing Tear Gas: Bahrain’s Unprecedented Use of Toxic Chemical Agents Against Civilians, August, 2012. https://www.thenation.com/wp-content/uploads/2015/04/Bahrain-TearGas-Aug2012-small.pdf
Scarry, Elaine. The Body in Pain: The Making and Unmaking of the World. Oxford University Press, 1985.
Hell is a Timeline [The Exile and The Crisis of Placehood], October 10, 2020. | Keyword: Exile; trauma; belonging; citizenship; migrants; refugee crisis
Cvetkovich, Ann. Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures. Duke University Press, 2003.
Naficy, Hamid. The Making of Exile Cultures: Iranian Television in Los Angeles. Univ. of Minnesota Press, 1993.
Said, Edward W. The Edward Said Reader. Granta, 2001.
Sharma, Nandita. Home Rule: National Sovereignty and the Separation of Natives and Migrants. Duke University Press, 2020.
Hell is a Timeline [Crisis of Origin Stories], October 24, 2020. | Keyword: origin stories; religion; enlightenment; postcolonial
Baker, Annie. The Antipodes. Theater Communications Group, 2018.
Bates, David William. States of War: Enlightenment Origins of the Political. Columbia University Press, 2011.
Carey, Daniel. Festa, Lynn M. “Reading Contrapuntally: Robinson Crusoe, Slavery and Postcolonial Theory.” The Postcolonial Enlightenment: Eighteenth-Century Colonialism and Postcolonial Theory. Oxford University Press, 2009.
Deloria, Vine. God Is Red: A Native View of Religion. Fulcrum, 1994.
Hell is a Timeline [The Crisis of Legitimacy], November 21, 2020. | Keywords: corporate sovereignty; open-source software; armed groups; United Nations; legitimacy; rule of law
Barkan, Joshua. Corporate Sovereignty: Law and Government Under Capitalism. University of Minnesota Press, 2013.
Schäfer, Mirko Tobias. Bastard Culture!: How User Participation Transforms Cultural Production. Amsterdam University Press, 2011.
Schlichte, Klaus. In The Shadow of Violence: The Politics of Armed Groups. Campus Verlag, 2009.
Thakur, Ramesh. “Law, Legitimacy and the United Nations.” Legality and Legitimacy in Global Affairs, by Richard A. Falk et al., Oxford University Press, 2012.
May 2020
R A Q S M E D I A C O L L E C T I V E
New S/Urges (2020)
Text, Animation.
Desires persist, even unsated, to surge through as surprise when least expected. Like tremors scrawled on the seismograph of hibernating dreams. What makes for their urgency? Their Insurgency.
23 April 2020
N A N C Y S P E C T O R
Interviewed on April 23, 2020 Watch the interview here: Interviewed on May 10, 2020: Watch the interview here: https://vimeo.com/417638992 |
May 2020
L E O N O R A N T U N E S
May 2020
J O S H K L I N E
May 2020
E M I L Y W A R D I L L
Spring 2020:
RP Boo - Speakers R-4 (Sounds)
Ursula Bogner - Begleitung für Tuba
Lady Leshurr; Queens Speech 4
SUNN O))) - Troubled Air
Bill Withers. Better Days
Maarja nuut & ruum - Une meeles
Dolap Warer Music - Waves break on the reef
Pega Monstro - Fado da Estrela do Ouro
Otjikenlu Ya Yndunduma - Gimba
Terrence Parker - Your Love
For your precious love. Jackie Wilson
Burial - Truant
Billy Ellish. - When I was older
Funkadelic.- Maggot brain
Buffy Saint Marie - God is alive, magic is afoot
Lula Pena - Pesadelo da história
Nina Simone - You'll never walk alone
April 30, 2020
M Y R I A M B E N S A L A H
INTERVIEWED
Interviewed on April 30, 2020 Watch the interview here: |
April 2020
V A S I L I S Z A R I F O P O U L O S
New Routines
April 2020
I M R A N P E R E T T A
June 2020
S I V A N L A V I E
G E NE RO SITY
GENEROSITY - a poem (click here to listen)
See and know you that you are exactly where you need to be right now.
There is no where else for you to be. Look around you. You are in this moment, in this place, at this time, and you’re exactly at the right place at the right time. Well done.
I cheer you on for all your big and small actions in the world thus far. You are amazing and beautiful . Your presence brings joy to those around you. Well done for all you are achieving daily.
You are just on time to be inside of your own body. Your body is here, it is time to give it a visit.
See in your inner eye your supine body.
Imagine you are riding the magic school bus, shrunken to a tiny size, you are taking a trip inside of yourself.
Your body is an exhibition space that you are about to visit. It is roaring, vibrating and very alive. It is big and juicy. It is a perfect size for an exhibition. You fly inside and see just that. Your body is a landscape. It is the alps and you are a tiny ant visiting inside it. With every breath it expands,with every exhale it relaxes.
See and know this is your ultimate exhibition space.
Visit it with love and curiosity. Meet it with the loving eyes of a grandmother, and curious eyes of a newborn.
Look with awe at this multicolored luminescent space, and feel your skin, flesh and body ground around you as you read this. See and know that you live in a colorful, luminescent, magnificent, big body, which takes up space in the world. It is a whole forest of breathing trees.
Know that its actions are choreographed divinely in the dance of the world. See and know the special and unique space you carve in the world. Only you occupy this space. Know that there is a magical force called “will” pulling you forward to realizing your full potential.
You are a magical being.
You are a beam of light.
Every time you breathe in and out with attention, you choose to focus on your body. Every time you choose your body, it expands. Every time your body expands, you are connecting more to yourself. You are accepting yourself as you are. The more connected to yourself you become, the more powerful you become in creating your own reality.
Know that in you is a happy baby who knows exactly what he wants.
Let your body talk, see and know that it is your guide to existing with yourself.
Let it lead you.
You are whole. Exactly as you are, right now.
You are a sourcerer with magical powers and gifts to share with the world.
See and know you choose where to place your energy, attention and love.
Listen to your body. Fill it with love. Breathe in deeply to relax the body, breathe out slowly to relax the body. It will talk.
You glow in a million colors.
Your presence is electric.
Click here for a guided meditation (edited by Daniel Slabosky)
Click here for a list of affirmations
Click here for a weird sound recording
30th April 2020
D A N I E L B L U M B E R G
Silver Dinner
Hors d’oeuvres:
SILVER PLATE001
silver on paper
4” RADIUS
SILVER PLATE002
silver on paper
4” RADIUS
SILVER PLATE003
silver on paper
4” RADIUS
SILVER PLATE001
silver on paper
4” RADIUS
SILVER PLATE005
silver on paper
4” RADIUS
June 2020
A L I A F A R I D
May 2020
M A R I A N A T E L L E R I A
Say a body. Where none. No mind. Where none. That at least. A place. Where none. For the body. To be in. Move in. Out of. Back into. No. No out. No back. Only in. Stay in. On in. Still.
Worstward Ho, Samuel Beckett
password: river
The void. Before the staring eyes. Stare where they may. Far and wide. High and low. That narrow field. Know no more. See no more. Say no more. That alone. That little much of void alone. S.B.
Another. Say another. Head sunk on crippled hands. Vertex vertical. Eyes clenched. Seat of all. Germ of all.
No future in this. Alas yes. S.B.
Fast Movements = +Memes
May 10th 2020
ZOE ADJONYOH
NKAAKRA
Light Soup
SERVES 8
Ingredients
2kg Chicken thighs
2 tsp salt to season
2 cm fresh ginger peeled and grated
1 tsp extra hot chili powder
2 scotch bonnets (de-seeded and diced)
1 tbp crushed grains of paradise (alligator pepper)
1 tbp chilli flakes
2 chicken stock cube
Handful of fresh coriander and thyme
800g fresh tomatoes
3 garlic cloves, finely diced
2 cooking onions, finely diced
1.5 ltr hot water
500g mixed vegetables – e.g diced yams or sweet potato, carrots, mushrooms, white cabbage
Method
1. Heat 1 tbsp oil in a large heavy based pan and fry the chicken skin side down until it’s crispy (you can also remove the skin and skip this step if you prefer, I like to keep the skin on)
2. Turn the chicken over in the pot and add one finely diced onion, salt, ginger, scotch bonnet, crushed alligator peppers, stock cube, chili powder, chili flakes and fresh herbs to the pot until onions are translucent
3. Blend the tomatoes, garlic and other onion until smooth. Pour over the chicken then cover and simmer for about 20 minutes until the chicken juices run clear.
4. Add the hot water, bring to boil and simmer until the meat is tender.
5. Dice and add the vegetables and leave to cook until tender.
Garnish with a sprig of coriander & serve either on its own or with a slice of slightly toasted hard dough bread
May 2020
J U L I E F H I L L
Transits for local midnights – Part I – Timetable
My local midnight (night of Wed 27/28 May 2020), London, UK
Telescope live stream courtesy of Slooh’s robotic telescopes, located on a 12,198 foot volcanic summit, adjacent to Mount Teide, Tenerife.
Broadcast recording on IGTV .
No. - - - - - | Location of midnight - - - - - - - - - - - - - - - - - - | Object - - - - - - - - - - - - - - - - - - - - - - - - - - - | Information - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - |
1 | 00:00:00 London, UK | Leo 1 Galaxy Group (M96 Group) | | Distance: 35 million light years (ly) |
2 | 00:00:00 London, UK | Ring Nebula (M57) | | Age: 7,005 years | Radius: 1.3 ly | Distance: 2,000 ly |
3 | 00:00:00 London, UK | Leo Triplet (M66 Group) | | Distance: 35 million ly |
4 | 00:00:00 London, UK | Black Eye Galaxy (M64) | | Age: 13.28 billion years | Distance: 24.01 million ly |
5 | 00:00:00 London, UK | Whirlpool Galaxy (M51) | | Age: 400.3 million years | Diameter: 60,000 ly | Distance: 400.3 million ly |
6 | 00:00:00 London, UK | Spiral Galaxy (M108) | | Age: 13.27 billion years | Diameter: 110,000 ly | Distance: 45.99 million ly |
7 | 00:00:00 London, UK | Owl Nebula (M97) | | Age: 8,000 years old | Radius: 0.91378 ly | Distance: 2,030 million ly |
8 | 00:00:00 London, UK | Hamburger Galaxy (NGC 3628) | | Age: 13.26 billion years | Diameter: 100,000 ly | Distance: 35 million ly |
9 | 00:00:00 London, UK | Whale Galaxy (NGC 4631) | | Age: 13.27 billion years | Diameter: 80,000 ly | Distance: 30 million ly |
10 | 00:00:00 London, UK | Sunflower Galaxy (M63) | | Age: 13.28 billion years | Radius: 49,000 ly | Distance: 27 million ly |
11 | 00:00:00 London, UK | Silver Needle Galaxy (NGC 4244) | | Age: Age: 13.29 billion years | Distance: 14 million ly |
12 | 00:00:00 London, UK | Sunflower Galaxy (M63) | | Age: 13.28 billion years | Radius: 49,000 ly | Distance: 27 million ly |
13 | 00:00:00 London, UK | Barnard’s Star (GJ 699) | | Size: 8,703.4 km | Distance: 6 ly |
14 | 00:00:00 London, UK | Messier 106 (NGC 4258) | | Age: 13.28 billion years | Radius: 67,500 ly | Distance: 23.68 million ly |
15 | 00:00:00 London, UK | Ring Nebula (M57) | | Age: 7,005 years | Radius: 1.3 ly | Distance: 2,000 ly |
Transits for local midnights – Part II – Timetable
Wed 3 June – 24 posts for 24 time zones
Downloadable pdf available here. | ||||
No. - - - - - | Location of midnight - - - - - - - - - - - - - - - - - - - - - - | My location - - - - - - - - - - - - - - - - | Difference - - - - - - - - - - | Object - - - - - - - - - - - - - |
1 | 00:00 Auckland, NZ | 13:00 London, UK | +11 | |
2 | 00:00 Honaria, SB | 14:00 London, UK | +10 | |
3 | 00:00 Melbourne, AU | 15:00 London, UK | +9 | |
4 | 00:00 Tokyo, JP | 16:00 London, UK | +8 | |
5 | 00:00 Shanghia, CN | 17:00 London, UK | +7 | |
6 | 00:00 Jakarta, ID | 18:00 London, UK | +6 | |
7 | 00:00 Dhaka, BD | 19:00 London, UK | +5 | |
8 | 00:00 Karachi, PK | 20:00 London, UK | +4 | |
9 | 00:00 Abu Dhabi, AE | 21:00 London, UK | +3 | |
10 | 00:00 Moscow, RU | 22:00 London, UK | +2 | |
11 | 00:00 Berlin, DE | 23:00 London, UK | +1 | |
12 | 00:00 Lagos, NG | 00:00 London, UK | 0 | |
13 | 00:00 Reykjavik, IS | 01:00 London, UK | -1 | |
14 | 00:00 Praia, CV | 02:00 London, UK | -2 | |
15 | 00:00 Nuuk, GL | 03:00 London, UK | -3 | |
16 | 00:00 Rio, BR | 04:00 London, UK | -4 | |
17 | 00:00 New York, USA | 05:00 London, UK | -5 | |
18 | 00:00 Lima, PE | 06:00 London, UK | -6 | |
19 | 00:00 Managua, NI | 07:00 London, UK | -7 | |
20 | 00:00 Tijuana, MX | 08:00 London, UK | -8 | |
21 | 00:00 Adamstown, PC | 09:00 London, UK | -9 | |
22 | 00:00 Adak, AK, USA | 10:00 London, UK | -10 | |
23 | 00:00 Rarotonga, CK | 11:00 London, UK | -11 | |
24 | 00:00 Alofi, NU | 12:00 London, UK | -12 | |
May 2020
Johanna Makabi & Eden Tinto Collins
May 2020
E M I L Y S M I T H
May 2020
D I A N A C A M P B E L L
B E T A N C O U R T
July 2020
A N O N Y M O U S
Artists have bodies, bills and babies
I love to self-isolate on my own terms, to make artworks. But it is obscene to present this moment as an opportunity for a creative bubble to ferment new exciting works, obliterating or denying the tremendous material difficulties artists are confronted with.
Artists are receiving an avalanche of requests for free content, donations, zoom conferences, participation on a “special quarantine program” for no compensation, all while the day is eaten away negotiating with a landlord, doing childcare, or struggling on the phone to understand how to apply for help, many of us realizing that we actually don’t have access to it (as is the case for most visa holding migrants).
The appeal to “fill the void” is natural and healthy in times of crisis. It comes from a good place, wanting to maintain a sense of community and, less prosaically, hoping that galleries survive. But what builds “community” right now is also to acknowledge and understand our differences as actors of the artworld and the specificity of the manifold material conditions of the practices of art. Artists who are parents, artists who lost their studio, artists who can’t pay rent in the city, artists who have a medical condition, artists who are racially, economically, and socially marginalized, artists whose partners are essential workers, artists who lost their art handling gigs, artists who just lost a family member, these artists are facing tremendous material difficulties to access a creative mental space. A lot of them stay silent on social media because they just don’t have the time or energy for that emotional labor.
Social inequalities are severely increased in this time of crisis, in the art community as in every other community. There will be a generational gap. Artists won’t get the chance to emerge. There will be up-and-coming artists whose financial situations will not recover. Commercial and critical success offer no protection: all artists I know who are fortunate enough to make a living out of their practice invest most of what they earn to make new works.
I have read several articles glorifying artist’s online “free” creativity and presenting the crisis as a chance to finally reassess artist‘s relevance and “historical” art to stand out more obviously... maybe as the pandemic is supposedly killing only the weakest? Cultural eugenics has become a new receipt to maintain optimism at any cost. It seems as if the inability to accept bad news as bad news is turning into a justification for blind insensitivity.
For now, rather than “new quarantine content” made in a rush, we need to acknowledge the difficulties artists are facing. Now that the digital experience IS the cultural experience and that most sources of income for artists have gone dry, asking for free digital or content is perpetuating the idea that artists can live off the exposure and that these opportunities are good enough. It perpetuates the idea that artists don’t need to eat real food, the kind of food you buy with actual cash, the idea that artists don't have bodies, don’t get sick, don’t get pregnant, don't have kids, don’t have bills to pay. And perpetuating these ideas is really the worst thing you can do to the artists’ community right now.
If there is no fast global mobilisation of collectors and institutions, there will soon be no art scene to return to - or it would be one that excludes a majority of artists for the wrong reasons. And the worse thing is that it might go unnoticed because the superficial activity of the few who can make work for free will be masking the fact that so many voices have been shut down. “Staying active”, yes but with awareness and empathy. What we need, to paraphrase Camus when he spoke about happiness in spite of dire times and knowledge of that distress, is a creativity “that forgot nothing.”
If I were a private foundation or an institution that is currently not struggling (and I know they exist), I would dedicate my 2020 exhibition budget to the acquisition budget and buy an artwork per week or per month (any price range) and do an interview with the artist about it. As an institution, I would propose to compensate artists I had exhibited in the past and in the future with a decent fee.
As a collector I would pledge to buy at the maximum of my possibilities at a fair price to continue supporting galleries and artists - and I would do so publicly so other collectors could follow. I would create a special support fund for new productions for biennales anticipating the fact that biennales will happen when most commercial galleries' abilities to support new productions will be gone.
During the Great Depression, Roosevelt initiated a New Deal program called The Federal Art Project that produced a significant body of commissions: writers were writing city guides, musicians were commissioned for special concerts, artists were creating murals for school, pools, train stations and parks. Those commissions not only supported artists, they also supported the emotions of the whole community. It is the time for public and private institutions to initiate public commissions. They could make commissions to support the mourning of those we lost, the endurance of frontline workers. They could commission a monument in Hart island for the one who died without anyone to care. They could commission artworks to celebrate our “stay at home“ lives.
For a long time, under an unquestioned patriarchy, domestic life was degraded as irrelevant and anecdotal - critiques that are still addressed to women’s art, even today. It is time for public commissions to celebrate the inner life, inside our homes, inside our bodies.
I believe it is extremely important to educate people about the reality of being an artist, regardless of their level of commercial success. The time is now to not only support the symbolic value and meaning of art, but also to support the reality of choices made by individuals and institutions that directly shape (or mis-shape) art’s ecosystem. I hope to see more visionary choices from those who can in support of this reality. Having less money isn’t the same as having no money. A lot of powerful actors of the artworld can still support: artists need them to step in quickly and in full force.
July 2020
P I E R R E B I S M U T H
Variations sur le thème des nations
A combination of the flags of two nations, Gambia and Guinea, creating a composition that is at once abstract and referential.
Variations sur le thème des nations GUINEEGAMBIECOLOR
Variations sur le thème des nations GUINEEGAMBIECOLORBURN
Variations sur le thème des nations GUINEEGAMBIECOLORDODGE
Variations sur le thème des nations GUINEEGAMBIEDARKEN
Variations sur le thème des nations GUINEEGAMBIEDARKERCOLOR
Variations sur le thème des nations GUINEEGAMBIEDIFFERENCE
Variations sur le thème des nations GUINEEGAMBIEDIVIDE
Variations sur le thème des nations GUINEEGAMBIEEXCUSION
Variations sur le thème des nations GUINEEGAMBIEHARDLIGHT
Variations sur le thème des nations GUINEEGAMBIEHARDMIX
Variations sur le thème des nations GUINEEGAMBIEHUE
Variations sur le thème des nations GUINEEGAMBIELIGHTEN
Variations sur le thème des nations GUINEEGAMBIELIGHTERCOLOR
Variations sur le thème des nations GUINEEGAMBIELINEARBURN
Variations sur le thème des nations GUINEEGAMBIELINEARDDODGE
Variations sur le thème des nations GUINEEGAMBIELUMINOSITY
Variations sur le thème des nations GUINEEGAMBIEMULTIPLY
Variations sur le thème des nations GUINEEGAMBIEOVERLAY
Variations sur le thème des nations GUINEEGAMBIEPINLIGHT
Variations sur le thème des nations GUINEEGAMBIESATURATION
Variations sur le thème des nations GUINEEGAMBIESCREEN
Variations sur le thème des nations GUINEEGAMBIESOFTLIGHT
Variations sur le thème des nations GUINEEGAMBIESUBSTRACT
Variations sur le thème des nations GUINEEGAMBIEVIVIDLIGHT
July 2020
R H E A D I L L O N
SICKKLOFLOVESICK
July 2020
M A T H I A S K E S S L E R
Crystal chain
Crystal Chain | a Utopian Correspondence
Vaguely a year after the first World War ended, a group of German artists and architects created what is now known as the “Utopian Correspondence” an artistic collective whos medium took the shape of a chain letter. Between November 1919 and December 1920, ideas were exchanged in the form of letters that aimed to create new worlds by inspiring, through words and ideas, better futures. The Gläserne Kette offered many new roads and forged numerous modern utopias while the crisis lasted.
I am greatly inspired by the widespread input and unusual combination of these artists, and thinkers, Modern Visionaries, that shaped the Utopian Correspondance. My practice generates settings where the artist becomes a host, inviting other artists, designers, peoples to take over, honoring the power of the collective and the beauty of its outcome. Welcoming local influences is a manifestation of extreme locality, a philosophy that reveres the value of local influences in the creation of a healthy socio-cultural landscape.
For ____homecooking____/ I would like to further continue with this concept, by sharing this invitation, so that we can collectively think of a new future, a new utopia for people, close and far.
The virus has without a doubt plagued our lives with terror, but, by allowing us to look at fear right in the eyes, it has granted us the power to fight for the changes we want. We are no longer afraid. Concepts such as Extreme Locality, Universal Basic Income, Healthcare for All, Social Justice, and Environmental Revolution suddenly feel, not only possible but necessary, now. Lockdown exposed how incredibly vulnerable we are at the hands of a globalized world that consumes workers for its production cycle. It made us question what is essential and who is? Can we ever go back to he way things were?
From these times of crisis, we have a chance to bring new ideas into a larger consciousness. During the last three weeks, millions of people have taken the streets to protest systemic racism and propel the BLM movement, asking for exactly that, a new, more equal, and just future for everybody. We have been driven by an inhuman, hyper-capitalist system that has no regard for justice, our wellbeing, or our need for love and spirituality.
The time is now to collectively imagine our new future.
Crystal Chain | a Utopian Correspondance
Mathias Kessler, June 18th 2020
Subject: A letter for a new future
The Crystal Chain is a correspondence that took place between 1919 and 1920 when a post-war-stricken Germany was coming to terms not only with its heinous crimes but with the landscape of destruction, economic hardship, and human pain that the conflict left behind. I would like to use this image of a destroyed city as a point of departure to help us reflect on our current times. To start us off, I am sharing with you an excerpt from one of Walter Gropius' letters that I believe exudes a form of poetic symmetry inviting us to reflect on what cities mean today and in times of the epidemic.
In the leaflet accompanying the exhibition, Gropius explained that the cities were "deserts of ugliness"; these "gray, hollow, mindless dummies" could at best testify to posterity that "the great only art" had been forgotten, building. He demanded: "Painter and sculptor ... goes into the buildings, blesses them with fairy tales, chisels thoughts into the bare walls and - colorful in imagination, unconcerned about technical difficulties." (4) In the face of an out-of-balance reality, these architects considered only utopia as an appropriate expression of longings. A distinction was now made between architecture and functional building, between, according to Gropius, "dream and reality, between longing for stars and everyday work". The "everyday work" and the purpose-built building were given a clear rejection; all interest was in the "star longing" (5), the "isolated" world.
Can we imagine new structures that transform these bare walls? A place where we can all grow and live again? How can we imagine living locally in a city, where nature, animals, and architecture interact? If anything, this crisis has shown us that the modernist legacy has failed us, trapped us in an inhumane space, in an inhuman economy that feasts on senseless growth and destruction. Let’s come to terms with the fact that this is only the beginning of a long decline. Perhaps this realization will allow us to focus on what we believe is impossible, a society that is not chained to growth, production cycles, and endless destruction. Let’s be post-utopic.
Can we grow the buildings we live in? Can we strive to live in communal spirit with animals and plants?
While there are ideas I can draw from, like urban farms, and other energy sufficient spaces, there are still more we can dream off. Poetry has the power to change our imagination.
We need to change our focus in order to change our habitus.
Duks Koschitz, PhD, Dipl. Ing
Dear Mathias,
The idea of using The Gläserne Kette is a wellcome and surprisingly obvious way to discuss our current global and specifically American situation. Thank you for proposing this as an idea. It is hard to dream of a better alternative to many things when we feel stifled by many world leaders and constantly ask ourselves why they are dialing the clock back instead of forward.
Yes, there are many things we have to do and architecture can contribute in major ways. I personally think we need to bring 'building' - the verb - back into day to day culture and involve everyone in making or better building a place or a home. When we all understand what it takes to build the places and cities we live in, especially in the Western World, we will be more inclined to live on smaller footprints, live with fewer amenities, save more energy and waste less. What needs to change is the attitude towards the built infrastructure we rely on. Let's have children build their own model cities and tell us what makes sense to them. I am pretty sure they will come forward with challenging questions. Let's build green infrastructure, not as a patchwork or awareness project, but as a part of being a citizen.
Duks
-
Duks Koschitz, PhD, Dipl. Ing
Associate Professor in Design & Technology
Director, Center for design research in architecture
200 Willoughby Avenue | Brooklyn | NY 11205
I believe space exists so we can manipulate it
Dear Mathias,
I know the letters of the Glaserne Kette very well and as I remember we discussed years ago about the time during the20’s and how the group of artists and architects created a new way of thinking combining all that, what we call Modernism today. But, as you know, there is a big difference between modernism we hallucinate today and the imagination these guys had about their future. (Some parallels are seen today/ a lot needs to be done!) modernism + Fortschritt 5.0
Let model a new future in the weeks to come!
LG, S.
Mit freundlichen Grüßen
Sebastian Schröter
SERO ARCHITEKTEN
Minkus Schroeter
Partnerschaft mbB
Ludwigstraße 12b
04315 Leipzig
Tel: +49 341 248 535 20
M: +49 151 22 63 69 80
Fax: +49 341 256 931 88
July 2020
H A N A M I L E T I C
3 Household Art Manuals
July 2020
S H A N E A N D E R S O N
Heavenly Valley
… hello, hello, is anyone, anyone, beeping, beeping, what’s that, that, beeping, beeping, I’m so, so, sleepy, sleepy (((((((_______)))))))—and then the air tickles my nose. It’s so cold and clean, it’s like being in the mountains after it snows. On one of those glorious mornings where the sky is calm and clear and there’s a meter of fresh powder making everything brighter, almost impossibly so. Blinded from the sun’s reflection, I look towards the lake at the base of the mountain, the lake that’s radiating shades of turquoise and cobalt and true. Blue or double black diamond, these are my options as I stand on top of The Face and breathe in the crispness of the air that is so cold and clean, it’s calming. Everything is so peaceful, so silent, empty of people, it’s like being in a state of grace, a heavenly place that is bright and refreshing and free and certainly also the reason for me being here, listening to the wind in the pine trees, in a state that’s beyond all doubts and fears, a miracle. As a child, I used to dream about standing alone on top of this mountain, a mountain that I could see from my bedroom window but could never reach because of its steepness, and now that I am, I can’t explain it, I’m so happy to see a light gust of wind lift some of the fresh powder off the uppermost layer of snow and swirl it into a little tornado. Did you see that, I hear, he just smiled a little. I’m smiling too as I watch the tornado dissolve above the magnitude of Lake Tahoe, which looks like a million different stained-glass windows or a single blue one that has become pixelated from being enlarged to the size of the world. I breathe in the clean, clear, refreshing air and I can’t believe I’m actually here all alone in the cold of a brief shadow as a solitary cloud passes over me, and then I remember that I can’t be all alone on top of Heavenly Valley, there’s the voice and the person the voice is talking about and then also the person the voice is talking to. Unless that’s me, but I can’t see anyone, not on the blue trail heading over to the Nevada side of the mountain and not here maneuvering through the double black diamond’s moguls that have been muted into soft pillows in California, the State of Gold. The lake and the mountains are divided between two states and as I look into the Silver State to the east, to my right, to find the voice that had been speaking, the sun shines right in my eyes, so I turn my head to the west and can only see darkness and sparks, little speckles of glitter. My eyes burn from the snow blindness and no matter how often I blink, the discomfort doesn’t disappear, so I go to rub the fire out of my eyes, but something stops me. My arms are asleep or have turned into sacks of concrete and the beeping from earlier gets louder and faster. Don’t worry, Mr. Anderson, I hear, just breathe. And so I do, and it’s so nice when I do. The air is so fresh and so clean, and it feels so good to be up here on the mountain, listening to the wind in the pine trees, surrounded by fresh powder. I breathe in again, this time more greedily, and the air tickles my nose so I try to scratch it but what was it, something had stopped them? I try to lift my arms that are not concrete, something is holding them down, at my wrists, which are being pinched. I try to move my arms faster to maybe break through whatever’s stopping them but the pinching pinches harder and even plucks out some arm hair. Should I tell Recovery that this could take a while, a voice says but the voice isn’t the same as the one from the mountain. It’s quieter and almost what’s the word and probably not on the mountain either? Now it’s getting a little freaky, so I try with all my might to lift my arms and legs to get out of wherever this is, but they are met with a resistance that is stronger than anything I can muster. Then a hand is suddenly on my fingers, a hand holds my hand that is clammy and a little cold. Don’t worry, Shane. Can you hear me? Can you open your eyes? My eyes? I thought my eyes were open the entire time. Perhaps I had closed them from the snow blindness? But no. Shane, hello? I don’t like his reading. Then I know I am the mountain and the lake stuck between two states, in grace and also with my arms taped to a hospital bed that I am lying in, where the voice from on top of the mountain is encouraging me to arrive in. It gets a little clearer and I can see that Heavenly Valley is inside me, so I try to open my eyes but it hurts like knives to go beyond the threshold of light, it’s worse than the snow blindness, and I can’t rub the burning out of my eyelids that are heavy, not from tiredness, or not exactly, it’s like a weight is pressing on them, something is stopping them from unlidding. You might feel a little thicker, I hear, it’s from the fluids. I recognize this voice and it’s not from the mountain, and it is, and it’s also from this morning. Before the surgery, the nurse had told me to be ready in the end as he read my hands to check my first name and last name and birth date and blood type and allergies and last meal and procedure on both of my wrists on six different occasions before I went under the anesthesia that made everything swell like I was underwater with echoes. I want to ask him whether everything is alright, whether I am going to make it out alive, but my tongue is still numb from the anesthesia and I can’t see him in the burning light of the snow’s reflection so I close my eyes that are already closed and breathe in the air that feels so good, so crisp and so clean and so calming, it’s peaceful, and I decide to rest for a while up here on the mountain. Everything else can wait while I gather my strength, and then I fall asleep in the snow, or almost. Come on, Shane. Hey! Stay with me! Keep breathing! And so I do, and it feels so good when I do. I breathe in and breathe out and I see the trees swaying in the breeze and the beeping gets slower and quieter. I feel rested enough now to open my eyes to the room that is blurry and disfigured. There has to be a way to get out of here, off of The Face and away from the stabbing light of the hospital, so I roll my shoulders to the right and there’s a hot pinch that makes it harder to breathe and that paralyzes me with sleepiness, so I start to lie down in the snow and I see myself lying on the bed in the snow before I remember my fingers and I remember my toes. I wiggle my toes and open my bloated eyelids and smile as much as I can at the nurse—his name is Andy!—Andy, I’m awake, I say with my eyes, the surgery must be over, we did it, I’m alive, and then I try to roll myself onto my side but I can’t because it hurts and my arms are still pinched and I’m no longer smiling with open eyes, I’m tired, so I give Andy a thumbs up with one hand that maybe he can’t see, so I give him a thumbs up with the other, hoping he understands, and now I really want to go back to sleep. He’s ready, let’s wheel him in. I can hardly believe it, I’m leaving the blinding light of The Face, I must be ok, and I’m so happy with what I just achieved that I breathe in the cold, clean, refreshing air and can now really feel just how tiring it was to communicate with my fingers, so I lay my head down that is already lying down on a pillow and I can feel that I have an oxygen tank connected to my nose that is making the air so fresh and so clean and calming. I smile. I am on the other side of the procedure and I have fingers and toes and shoulders and ribs that hurt a little. I breathe in and breathe out and it feels so nice, it’s like I’ve entered a single state of grace. I close my bloated eyelids or no, I open them, and in the blurry distance I can see another small tornado. I breathe in and breathe out and it’s so nice to be on top of the mountain, looking down at the lake that’s talking about all sorts of normal things like TV shows and the weekend and what’s going, going, to be, be (((((((_______)))))))
L E E T R I M I N G
Roman Classic Surprise (Öxsjön)
Sally O’Reilly and Lee Triming: On Roman Classic Surprise
Floodwater: a conversation between Lee Triming, Daria Martin and Marianna Simnett
2020
A N O N Y M O U S
Artists have bodies, bills and babies
https://drive.google.com/file/d/1tV5qb41TXpQRfTWFYw--eQqc4W54hrIC/view?usp=sharing
September 2020
Holly Márie Parnell
screenshots
‘Desktop Compositions (Homecooking edition)’ 2020 https://vimeo.com/453921644
Interview with Marianna Simnett: https://docs.google.com/document/d/1JNUl-ylbBZ0RhW0Gj0CQKy92SfSWZiN47qwQ4EHvJAM/edit?usp=sharing
September 2020
P R E M K R I S H N A M U R T H Y
Structures (Describing a System in Real Time)
A five-part performance-lecture that outlines one individual’s (in)complete world view, inspired by management / self-help guru David Allen’s Getting Things Done and the Mac productivity app, Things.
The series exists as a set of YouTube Live performances, featuring prerecorded video and live chat interaction with participants. The five parts are collected at the links below:
October – November 2020
Selfing
Two talks and a collective animation project, with contributions from Krisia Ayala, Heeseo Choi, Oren Herschander, Barbara Sirieix, Galina Shevchenko, Siqi Zhu …
Synopsis | Animation as an art of drift, in which the drawer, from one frame to the next, ventures onto unknown territory. Animation as an exquisite group body (nothing corpse-like about it) sustained through continual transformation. Animation as vegetal genius. Selfing is a shared folder of open-ended animations (https://bit.ly/2IqMx4A) relating to the act of self-pollination. Anyone can add frames to the files or contribute their own animations for collective use. |
Context | To learn about the origins of Selfing, watch this desktop talk (https://bit.ly/2IwPfW4) by Tyler, delivered via YouTube Live on October 18th, 2020. Tyler gave another talk (https://bit.ly/2IOrsAJ) about self-pollinating and collective animation, on Sunday, November 15th. It included a screening of the folder’s animations. |
Details | To initiate Selfing, Tyler uploaded two animation fragments as Photoshop .PSD files. You can download them to contribute additional frames (as image layers). He also uploaded movie files of the fragments, as well as a spreadsheet where each contributor can log information about the frames they add. If more than one person works on a .PSD at the same time, please duplicate and retitle the file to prevent each person’s contribution from being erased. Also add a row in the spreadsheet to indicate that your contribution is in process. If you want to upload your own animation fragment as a layered .PSD, feel free to do so and also add the relevant information to the spreadsheet. |
Authorship | Selfing is a collectively-authored project. Anyone who contributes frames will be credited as a co-author of the work. Any occasions to screen or exhibit what results will require the approval of all contributors. In the (unlikely) scenario that there’s interest in acquiring part or all of the project, proceeds will be divided between contributors, proportioned based on the number of frames each contributor has drawn. |
Still from Talk #1 (https://bit.ly/2IwPfW4), October 18th, 2020
Still from Talk #2 (https://bit.ly/2IOrsAJ), November 15th, 2020
October 2020 – January 2021
K A L A I J A M A L L E R Y &
P R E M K R I S H N A M U R T H Y
The Artist’s Human Way
Project Participants:
Abel Ngala, Aeron Bergman, Alice Heyward, Amelia Morrison, Amreen Ashraf, Amy Gibson, Ana Lía Orézzoli, Andrea Jacobs, Andros Zins-Browne, Anne Thompson, Annie Reynolds, Asad Raza, Ashley Culver, Ben Chaffee, Bill Martin, Caitlin Webb-Ellis, Carolina Daza, Cassidy Scanlon, Cathy Braasch, Christopher Willauer, David Knowles, Duygu Demir, Eleanor Bauer, Emma Gerigscott, Ingrid Jejina, ingrid romero, James Estrada, Jennifer Jones, Jessica Cerasi, Jonny Bruce, Kalaija Mallery, Kelly Marshall, Kelsey Hamilton Davis, Kim Charles Kay, kimberly sutherland, Kseniya Ostrovska , Laurel McLaughlin, Lauren Klein, Laurie Lambrecht, Leslie Hickey, lindsay costello, Lo Smith , Luciana Massarino, Manuel Cirauqui, Mariam Arcilla, Maureen Keaveny, Nadine Nelson, Nirmala Salom, Rafay Rashid, Rich Johnson, Richard Kuan, Robyn Apley, Roz Crews, Rujuta Rao, Sam Wrigglesworth, Siyona Ravi, Sofya Chibisguleva, Tamar Cohen, Taylor Yocom, Tori Reis, Tunu Thom, Zach McLane, Zach Whitworth, Zoe Mackler
More information and project structure: https://bit.ly/TheHumanWay
Weekly readings on Google Drive
Project Description
Everyone carries uncertainties and insecurities—about themselves, the world and its entangled crises, and how to act. For many folks, 2020 in particular has been characterized by widespread isolation and the failure of existing social systems to care for the creative, spiritual, and communal aspects of survival. Artists, however, are used to developing a personal path to joy through the process of making things. How might such artistic tools for self-discovery be made more accessible to everyone? How could a well-trodden pathway to individual liberation—practiced daily yet in dialogue with others—help improve ourselves and our shared world at the same time?
Starting from Julia Cameron’s bestselling self-help book, The Artist’s Way—a 12-week self-guided creative residency—this experimental project by Kalaija Mallery and Prem Krishnamurthy prototypes a method for self-discovery plus group understanding in pursuit of individual and collective clarity. Starting in October 2020, small “crews” of creative practitioners (moving beyond self-described “artists” to include design, writing, music, architecture, movement, cooking, breathing, living, etc.), unfamiliar to each other at the start and dispersed around the globe, will each work through Cameron’s simple daily tools while meeting periodically to discuss their progress. The project organizers will provide weekly scans of the book for all.
In the later weeks of the project, each group will be given access to occupy the Home Cooking Instagram platform for a week in order to achieve its members’ own individual and collective goals. The project culminates in a final gathering of all participants and a self-reflection on the process of continuous learning.
The entire process is offered for free and available to the first 50 people who apply online and commit to participation for the entire period according to the project guidelines. All of the readings for the project are available for free online.
How might the tools and strategies of artistic practice, which often privilege creative isolation as a path to self-knowledge, be experienced together and shared with others to contribute to transformation at both individual and collective scales?
We’ll find out in 12 weeks!
Contract from The Artist’s Way by Julia Cameron.
Third Room rules of engagement, collaboratively sketched and later painted on the wall in the space in 2017. Image courtesy of Kalaija Mallery.
The Artist’s Way by Julia Cameron. Images courtesy of Prem Krishnamurthy.
Selected Closing Reflections by Participants, January 2021
Taylor Yocom
Andrea Jacobs
Benjamin Chaffee
Zoe Mackler
Ashley Diana Culver
November 2020
KAINO WENNERSTRAND
background:
These are drawings my dad, A, made with some support from me. A's living with late-stage Alzheimer's disease which means we've had to find new things to do together. We've never drawn before, except when I was a child. He made bags for a living and would draw the blueprints for the bags, and I always thought he was very skilled. A's father ie. my grandfather taught me how to draw when I was a kid, but I didn't have the attention span to really focus on the learning. After encouraging my dad to draw, I've picked up drawing a bit myself, too, with the latest show I was in having consisted of my drawings around the symbolic power of numbers 1 to 5.
I've also attached a picture of a leather bag my dad made for me. I called him one day maybe 6 years ago and told him I'd like to have a big handbag. The call ended up being much longer than our usual ones, which lasted for a minute or two typically. ("Hi, what's up? Nothing, all good, hope you're good! Bye!".) I remember him saying something along the lines of "George Clooney at an airport" as a visual reference. Our Pinterest moment. A week later, the bag arrived in post and I've used it almost daily ever since. It's so well made, all the stitchings are super strong and I can imagine it lasting for many generations.
Some of my dad's drawings were shown as part of an installation, a meditation both on the aging of Finnish population and the often unseen creativity expressed by people in their everyday lives. The work was commissioned by ANTI festival, in Kuopio, Finland. The location was a private apartment that we turned into a full-blown site-specific work. It was made by Biitsi, an artist duo consisting of myself and Heidi Wennerstrand. You can see a video of my dad drawing in the screen on the floor.
15 January 2021
G R A C E N D I R I T U
Dissent Without Modification (Interview of Interviews)
An interview on the art of the interview and virtual book launch
Archived interview: https://www.instagram.com/tv/CKFBFvlA9fw
15 January 2021
S A N D H Y A D A E M G E N
& M A R T I N H A N S E N
The Waves
It can't hurt you it's just a noise and so she started and it started to grow
And suddenly it was so loud (under the waves)
You were under these...
These waves and there was no way you could get out and i got scared so what did i do..
It's like making this little loop, (yeah!)
I unconsciously hold onto my thumb at any kind of random moment in the day sometimes i even wake up like that
Its a loop, it keeps going
but it submerges me and the waves they pass,
they pass through (they pass over you) they pass around you
When i think of that it makes me realise that time…
has kind of...
whizzed back, the waves…
they pass (they make a loop) the waves are passing,
which i now join... through our bodies
Time has (the waves tremble) the trembling,
whizzed back,
the strange oscillations, which i now join
The vibrations (whizzed back) passing through
our bodies... which i now join
Strange oscillations
Passing through
falling in and out...
of time
which I now join
whizzed back and forth, an inch or two, and back or forth, which I now join, in and out of
time, the waves pass through our bodies.
And the trembling... the strange oscillations... and the waves pass through...
That's why we said humans have bodies and that's complicated,
...and the waves pass through, whizzed back on its reel
Humans have bodies (singing)
And the waves pass through
(of sync) of our bodies (the trembling) have bodies (strange) and it's complicated,
and the waves pass through (the image) our bodies
And thats (its) complicated (singing)
And the waves pass through
Video Artist Louise Höjer has made a video set to an excerpt from The Waves. You can watch it HERE
S E R V E D
WEDNESDAY 25 MARCH 2020
Marianna Simnett
3pm London / 4pm Berlin
FRIDAY 27 MARCH 2020
Stéphanie Saadé, DAYS SPENT INSIDE MINUTES
13h Beirut / 6am New York
SUNDAY 29 MARCH 2020
Prem Krishnamurthy, Present! v.1.0.0
17:00h Berlin / 11am NYC / 8am Los Angeles
THURSDAY 2 APRIL 2020
Stéphanie Saadé, DAYS SPENT INSIDE MINUTES
13h Beirut / 6am New York
SUNDAY 5 APRIL 2020
Prem Krishnamurthy, Present! v.1.0.1
17:00h Berlin / 11am NYC / 8am Los Angeles
WEDNESDAY 8 APRIL 2020
Stéphanie Saadé, DAYS SPENT INSIDE MINUTES
13h Beirut / 6am New York
Alice Heyward, Body Crying
9pm Melbourne / 1300h Berlin / 7am NYC
FRIDAY 10 APRIL 2020
Moriah Evans, 222 Ways to Get Inside Yourself
12pm Ohio / 18:00 CEST
SUNDAY 12 APRIL 2020
Prem Krishnamurthy, Present! v.1.0.2
17:00h Berlin / 11am NYC / 8am Los Angeles
TUESDAY 14 APRIL 2020
Stéphanie Saadé, DAYS SPENT INSIDE MINUTES
13h Beirut / 6am New York
WEDNESDAY 15 APRIL 2020
Alice Heyward, Body Crying
9pm Melbourne / 1300h Berlin / 7am NYC
THURSDAY 16 APRIL 2020
Hans Ulrich Obrist, INTERVIEWED
19:00 London / 20:00 Berlin / 2pm NYC / 2am Shanghai
FRIDAY 17 APRIL 2020
Moriah Evans, 222 Ways to Get Inside Yourself
12pm Ohio / 18:00 CEST
SATURDAY 18 APRIL 2020
Dora Budor, Soup Diaries
12pm NYC / 6pm Zagreb
Lei Saito, Yeast / Fantasy
19:00 Paris / 1pm New York City
SUNDAY 19 APRIL 2020
Prem Krishnamurthy, Present! v.1.0.3
17:00h Berlin / 11am NYC / 8am Los Angeles
MONDAY 20 APRIL 2020
Stéphanie Saadé, DAYS SPENT INSIDE MINUTES
13h Beirut / 6am New York
Athena Papadopoulos, ALPHABETIC SOUP
1800h CEST / 12pm Toronto
WEDNESDAY 22 APRIL 2020
Alice Heyward, Body Crying
9pm Melbourne / 1300h Berlin / 7am NYC
Barry Mc Hugh, Interview with Mateja Smic
12pm Dublin / 7pm New York
THURSDAY 23 APRIL 2020
Nancy Spector, INTERVIEWED
2pm US East Coast / 8pm Central European Time
FRIDAY 24 APRIL 2020
Moriah Evans, 222 Ways to Get Inside Yourself
12pm Ohio / 18:00 CEST
Agnieszka Kurant, Collective Intelligence
1pm NYC / 7pm CET
SATURDAY 25 APRIL 2020
Lei Saito, DANDELION MARMELADE
19:00 Paris / 1pm New York City
SUNDAY 26 APRIL 2020
Prem Krishnamurthy, Present! v.1.0.4
17:00h Berlin / 11am NYC / 8am Los Angeles
MONDAY 27 APRIL 2020
Lydia Ourahmane, walk in the fennel
8:00 Tizi Ouzou / 9:00 Berlin
TUESDAY 28 APRIL 2020
Hans Ulrich Obrist, INTERVIEWED pt 2
15:00 London
WEDNESDAY 29 APRIL 2020
Daniel Blumberg, SILVER DINNER
19:00 UK
THURSDAY 30 APRIL 2020
Philippe Parreno, Snow Dancing Again
15:00 CEST
THURSDAY 30 APRIL 2020
Myriam Ben Salah, INTERVIEWED
15:00 CEST
SATURDAY 2 MAY 2020
Tiffany Sia, Hell is a Timeline
Midnight Hong Kong, 18h CEST
SUNDAY 3 MAY 2020
Precious Okoyomon, Sky song
7am NYC / 1pm Frankfurt
SUNDAY 3 MAY 2020
Korakrit Arunanondchai, Make memory sauce
1900h Bangkok / 14:00 Berlin / 8am NYC
SUNDAY 3 MAY 2020
Prem Krishnamurthy, Present! v.1.0.5
17:00–21:00 CEST
SUNDAY 3 MAY 2020
Daniel Blumberg and Keiji Haino, SILVER DINNER
15:00 CEST
MONDAY 4 MAY 2020
Lydia Ourahmane, walk in the fennel
8am Tizi Ouzou / 9am CEST
MONDAY 4 MAY 2020
Emily Wardill, Spring 2020
3pm CEST
WEDNESDAY 6 MAY 2020
Alice Heyward, Body Crying
9pm Melbourne
Imran Peretta, #askthedjforastudiovisit
1pm BST
THURSDAY 7 MAY 2020
Asad Raza, Coffee Balzac Style
3pm CEST
FRIDAY 8 MAY 2020
Moriah Evans, 222 Ways to Get Inside Yourself
6pm CEST
SATURDAY 9 MAY 2020
Tiffany Sia, Hell is a Timeline
6pm CEST
Lei Saito, Rain
7pm CEST
Sahra Motalebi, Inter-Voice 1
8pm CEST
SUNDAY 10 MAY 2020
Zoe Adjonyoh, Plantain and Chicken
2pm London
Nancy Spector, INTERVIEWED Pt. 2
12pm NYC / 6pm CEST
MONDAY 11 MAY 2020
Lydia Ourahmane, walk in the fennel
8am Algiers / 9am Berlin
Agnieszka Kurant, Collective Intelligence episode 2
10am New York / 4pm CEST
TUESDAY 12 MAY 2020
Raqs Media Collective, New S/Urges
Imran Perreta, #askthedjforastudiovisit
6pm CEST
WEDNESDAY 13 MAY 2020
Hans Ulrich Obrist, INTERVIEWED pt. 3
2pm New York / 8pm Berlin
THURSDAY 14 MAY 2020
Tyla Lauren, Desperate Rap Wife
6pm CEST
FRIDAY 15 MAY 2020
Moriah Evans, 222 Ways to Get Inside Yourself
12pm Ohio / 6pm CEST
SATURDAY 16 MAY 2020
Tiffany Sia, Hell is a Timeline
Midnight Hong Kong
Sahra Motalebi
Inter-Voice, 2
1pm Marfa / 8pm CEST
MONDAY 18 MAY 2020
Lydia Ourahmane, walk in the fennel
9am CEST
WEDNESDAY 20 MAY 2020
Diana Cambell Betancourt, INTERVIEWED
3pm CEST
THURSDAY 21 MAY 2020
Aria Dean, INTERVIEWED
8pm CEST
FRIDAY 22 MAY 2020
Tiffany Sia, Hell is a Timeline
Midnight Hong Kong, 6pm CEST
SATURDAY 23 MAY 2020
Sahra Motalebi, Inter-Voice
1pm Marfa, Texas, 2pm NYC, 20hr Paris
SUNDAY 24 MAY 2020
Emily Smith, Emily Smith Presents!
5pm Berlin / 11am NYC
TUESDAY 26 MAY 2020
Hans Ulrich Obrist, INTERVIEWED, pt. 4
8pm CEST
WEDNESDAY 27 MAY 2020
Julie F Hill, Transits for local midnights – Part I
00:00 London, UK (UTC+1)
(Midnight of Wed 27/Thu 28)
THURSDAY 28 MAY 2020
Sohrab Mohebbi, INTERVIEWED
2pm CEST
SATURDAY 30 MAY 2020
Tiffany Sia, Hell is a timeline
Midnight Hong Kong / 6pm CEST
SUNDAY 31 MAY 2020
Mariana Telleria, Movimientos rápidos (Fast movements)
MONDAY 1 JUNE 2020
Ari Marcopoulos, Brooklyn, NY, 5.25.2020
3pm London
WEDNESDAY 3 JUNE 2020
Julie F Hill, Transits for local midnights – Part II
Begins 13.00, London,
UK (UTC+1) – on the
hour for 24 hours.
THURSDAY 4 JUNE 2020
Marianna Simnett, A Stolen Space
Begins 13.00, London,
UK (UTC+1) – on the
hour for 24 hours.
SATURDAY 6 JUNE 2020
Tiffany Sia, Hell is a Timeline
Midnight Hong Kong
MONDAY 8 JUNE 2020
Lydia Ourahmane, walk in the fennel
8am Tizi Ouzou / 9am CET / 3am NYC
Charlie Fox, Read-a-long with Fox
6pm London / 1pm New York
TUESDAY 9 JUNE 2020
Alia Farid, 26°08'56.3"N 50°30'44.1"E
4pm Kuwait / 3pm Paris / 9am Puerto Rico
THURSDAY 11 JUNE 2020
Marianna Simnett, A Stolen Space
10am-2pm BST
FRIDAY 12 JUNE 2020
Stuart Comer, INTERVIEWED
12pm NYC / 5pm London / 9am Los Angeles
Agnieszka Kurant, Collective Intelligence pt. 3
2pm NYC / 8pm CET
SATURDAY 13 JUNE 2020
Tiffany Sia, Hell is a Timeline
12am Hong Kong / 6pm Berlin / 12pm NYC
Lei Saito, Solstice
19:00 Paris / 1pm New York City
SUNDAY 14 JUNE 2020
Leonor Antunes, Farewell
Premieres 7pm Berlin, screening for one week
MONDAY 15 JUNE 2020
B.I.T. Bureau of Translation
21:00h CET for one hour
TUESDAY 16 JUNE 2020:
Victor Wang, INTERVIEWED
8pm Beijing / 1pm BST / 2pm CET
WEDNESDAY 17 JUNE 2020
Eden Tinto Collins & Johanna Makabi, A Pinch Of Kola
4pm Paris / 10am NY
THURSDAY 18 JUNE 2020
Marianna Simnett, A Stolen Space
10am-2pm BST
Elvira Dyangani Ose, INTERVIEWED
4pm London / 11am NYC
SATURDAY 20 JUNE 2020
Camille Henrot, We Agile Cats
5pm Paris / 11am NYC
SUNDAY 21 JUNE 2020
nullo (Parma Ham and Salvia), Bird Cooking
7pm BST / 8pm CET
MONDAY 22 JUNE 2020
B.I.T. Bureau of Translation
21:00h CET for one hour
THURSDAY 25 JUNE 2020
Marianna Simnett, A Stolen Space
10am-2pm BST
FRIDAY 26 JUNE 2020
Sivan Lavie, Generosity Corner
7pm Tel Aviv / 6pm CET
SUNDAY 28 JUNE 2020
Anonymous, Artists Have Bills, Bodies and Babies
7pm BST / 8pm CET
TUESDAY 30 JUNE 2020
Elisabeth Efua Sutherland and Emelia Dartey, New Folk
3pm Accra (GMT)
INTERMITTENT, STARTING 1 JULY 2020
Prem Krishnamurthy, 526
SUNDAY 5 JULY 2020
Rhea Dillon, SICKKLOFLOVESICK
12pm London / 6am Jamaica
MONDAY 6 JULY 2020
Pierre Bismuth, Variations sur la thème des nations
4pm Brussels / 7am Los Angeles
TUESDAY 7 JULY 2020
Eleanor Bauer, THE UNREAL AND THE REAL [selected short stories by Ursula K. Le Guin read aloud]
11pm Stockholm / 5pm New York / 3pm Santa Fe
WEDNESDAY 8 JULY 2020
Liz Nowell, INTERVIEWED
7pm Brisbane / 10am Cardiff
THURSDAY 9 JULY 2020
Marianna Simnett, A Stolen Space
10am-2pm BST
SATURDAY 11 JULY 2020
Tiffany Sia, Hell is a Timeline
12am Hong Kong / 6pm Berlin / 12pm NYC
SUNDAY 12 JULY 2020
Prem Krishnamurthy, Present! v.2.0.0
17:00h Berlin / 11am NYC / 8am Los Angeles
MONDAY 13 JULY 2020
B.I.T. Bureau of Translation
21:00h CET for one hour
Eleanor Bauer, THE UNREAL AND THE REAL [selected short stories by Ursula K. Le Guin read aloud]
11pm Stockholm / 5pm New York / 3pm Santa Fe
TUESDAY 14 JULY 2020
Hana Miletic, 3 Household Art Manuals
4pm Brussels / 10am New York
THURSDAY 16 JULY 2020
John Kaldor, INTERVIEWED
10am Paris / 6pm Sydney / 5pm Tokyo
Marianna Simnett, A Stolen Space
10am-2pm BST
Cecilia Alemani, INTERVIEWED
11:30 EST / 16:30 BST
FRIDAY 17 JULY 2020
Ed Fornieles, A conversation on love
4pm BST / 5pm Rome
Daniel & Clara, Walking in Circles with Daniel & Clara
02:00 PM BST
SATURDAY 18 JULY 2020
Tiffany Sia, Hell is a Timeline
12am Hong Kong / 6pm Berlin / 12pm NYC.
SUNDAY 19 JULY 2020
Camille Henrot with Hadi Fallahpisheh, We Agile Cats
8pm Paris / 2pm New York
Live on https://www.instagram.com/____homecooking____/
Eleanor Bauer, THE UNREAL AND THE REAL [selected short stories by Ursula K. Le Guin read aloud]
11pm Stockholm / 3pm Santa Fe
Live on https://www.instagram.com/____homecooking____/
MONDAY 20 JULY 2020
B.I.T. Bureau of Translation
21:00h CET for one hour
Email bittranslationbureau@gmail.com for an appointment
TUESDAY 21 JULY 2020
Lee Triming, Roman Classic Surprise (Öxsjön)
10am BST
Floodwater: A conversation with Lee Triming, Daria Martin and Marianna Simnett
5pm BST
Zoom Meeting ID: 885 1229 2588
Password: 412965
Hana Miletic, 3 Household Art Manuals
4pm Brussels / 10am New York
Live on https://www.instagram.com/____homecooking____/
THURSDAY 23 JULY 2020
Marianna Simnett, A Stolen Space
10am-2pm BST
Dara Birnbaum, A Conversation with Dara Birnbaum. Plus streaming of 'Technology/Transformation: Wonder Woman’ (1978-79) and 'Kiss The Girls: Make Them Cry’ (1979).
2pm NYC / 7pm London / 8pm Berlin
Xavier LeRoy, ZOOMOOS: A Home Cooked Choreography For Computers And Their Users (in 3 Episodes)
3:30pm NYC / 9:30pm Berlin
FRIDAY 24 JULY 2020
Shane Anderson,
6pm Berlin / 9am Oakland
SATURDAY 25 JULY 2020
Tiffany Sia, Hell is a Timeline
12am Hong Kong / 6pm Berlin / 12pm NYC
MONDAY 27 JULY 2020
Eleanor Bauer, THE UNREAL AND THE REAL [selected short stories by Ursula K. Le Guin read aloud]
11pm Stockholm / 3pm Santa Fe
B.I.T. Bureau of Translation
21:00h CET for one hour
Email bittranslationbureau@gmail.com for an appointment
TUESDAY 28 JULY 2020
Hana Miletic, 3 Household Art Manuals
4pm Brussels / 10am New York
THURSDAY 30 JULY 2020
Elvira Dyangani Ose, INTERVIEWED pt 2
TUESDAY 1 SEPTEMBER 2020
Jon Day, INTERVIEWED
6pm BST
Prem Krishnamurthy
Structures (Describing a System in Real Time), Part 1
8pm CEST
Archived performance: https://youtu.be/Ql7WgpeJu5s?t=840
SATURDAY 6 SEPTEMBER 2020
HP Parmley
Desktop Compositions (Home Cooking edition)
Until 20 September streaming live on Twitch
Related
A conversation between HP Parmley & Marianna Simnett on Desktop Compositions (2014–ongoing)
TUESDAY 8 SEPTEMBER 2020
Prem Krishnamurthy
Structures (Describing a System in Real Time), Part 2
8pm CEST
Archived performance: https://youtu.be/vhIazHaLoKw
TUESDAY 15 SEPTEMBER 2020
Prem Krishnamurthy
Structures (Describing a System in Real Time), Part 3
8pm CEST
Archived performance: https://youtu.be/KaPq8HlXF58
THURSDAY 17 SEPTEMBER 2020
Vasif Kortun, INTERVIEWED
6pm CEST / 7pm Istanbul
TUESDAY 22 SEPTEMBER 2020
Prem Krishnamurthy
Structures (Describing a System in Real Time), Part 4
8pm CEST
Archived performance: https://youtu.be/uBaZxcpeucU
SATURDAY 26 SEPTEMBER 2020
Tiffany Sia
Hell is a Timeline
Midnight Hong Kong
TUESDAY 29 SEPTEMBER 2020
Prem Krishnamurthy
Structures (Describing a System in Real Time), Part 5
8pm CEST
Archived performance: https://youtu.be/DH3VheUyr9o
MONDAY 5 OCTOBER 2020
Margarita Jimeno
BOGUS II THE CULONA ANTS 🐜 (DESKTOP) PERFORMANCE/
CYBER EXPANSIVE CINEMA
9PM CET / 3PM EST
WEDNESDAY 7 OCTOBER 2020 – WEDNESDAY 13 JANUARY 2021
Kalaija Mallery & Prem Krishnamurthy
The Artist’s Human Way
SATURDAY 10 OCTOBER 2020
Tiffany Sia
Hell is a Timeline
6pm CEST, Midnight Hong Kong
SUNDAY 18 OCTOBER 2020 – SUNDAY 15 NOVEMBER 2020
Tyler Coburn
Selfing
Folder of animations: https://bit.ly/2IqMx4A
SUNDAY 18 OCTOBER 2020
Tyler Coburn
Selfing (Part I)
2pm EST
Archived performance: https://youtu.be/Tpm_yAtX2W4
SATURDAY 25 OCTOBER 2020
Tiffany Sia
Hell is a Timeline
Midnight Hong Kong
SUNDAY 15 NOVEMBER 2020
Tyler Coburn
Selfing (Part II)
2pm EST
Archived performance: https://youtu.be/PsjUOnrr6a8
SATURDAY 21 NOVEMBER 2020
Tiffany Sia
Hell is a Timeline
6pm CET, Midnight Hong Kong
THURSDAY 19 NOVEMBER 2020 – WEDNESDAY 25 NOVEMBER 2020
Duygu Demir, Eleanor Bauer, Jessica Cerasi, Luciana Massarino, Manuel Cirauqui, Mariam Arcilla, Sofya Chibisguleva
The Artist’s Human Way, Week 1 of Home Cooking Give-Over
THURSDAY 26 NOVEMBER 2020 – WEDNESDAY 2 DECEMBER 2020 2020
Abel Ngala, Amy Gibson, Ana Lía Orézzoli, Ashley Culver, Kim Charles Kay, Maureen Keaveny, Robert Kuan, Taylor Yocom, Tunu Thom
The Artist’s Human Way, Week 2 of Home Cooking Give-Over
THURSDAY 3 DECEMBER 2020 – WEDNESDAY 9 DECEMBER 2020
Cassidy Scanlon, Cathy Braasch, David Knowles, James Estrada, Jennifer Jones, Lauren Klein, Nadine Nelson, Zoe Mackler
The Artist’s Human Way, Week 3 of Home Cooking Give-Over
THURSDAY 10 DECEMBER 2020 – WEDNESDAY 16 DECEMBER 2020
Annie Reynolds, Christopher Willauer, Kelly Marshall, Lo Smith, Robyn Apley, Siyona Ravi, Zach McLane, Zach Whitworth
The Artist’s Human Way, Week 4 of Home Cooking Give-Over
THURSDAY 17 DECEMBER 2020 – WEDNESDAY 23 DECEMBER 2020
Amelia Morrison, Ben Chaffee, Carolina Daza, Jonny Bruce, Kimberly Sutherland, Kseniya Ostrovska, Lindsay Costello, Rafay Rashid, Sam Wrigglesworth
The Artist’s Human Way, Week 5 of Home Cooking Give-Over
THURSDAY 24 DECEMBER 2020 – WEDNESDAY 30 DECEMBER 2020
Aeron Bergman, Amreen Ashraf, Andrea Jacobs, Anne Thompson, Laurel McLaughlin, Leslie Hickey, Rich Johnson, Rujuta Rao
The Artist’s Human Way, Week 6 of Home Cooking Give-Over
THURSDAY 31 DECEMBER 2020 – WEDNESDAY 6 JANUARY 2021
Alice Heyward, Bill Martin, Caitlin Webb-Ellis, Ingrid Jejina, Nirmala Salom, Richard Kuan
The Artist’s Human Way, Week 7 of Home Cooking Give-Over
THURSDAY 7 JANUARY – WEDNESDAY 13 JANUARY 2021
Andros Zins-Browne, Emma Gerigscott, ingrid romero, Kelsey Hamilton Davis, Laurie Lambrecht, Roz Crews, Tamar Cohen, Tori Reis
The Artist’s Human Way, Week 8 of Home Cooking Give-Over
FRIDAY 15 JANUARY
Grace Ndiritu
Dissent Without Modifications (Interview of Interviews)
8pm CET