3982 lines
335 KiB
Plaintext
3982 lines
335 KiB
Plaintext
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<a href="/events/">Events</a>
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<a href="https://laika.bar">Bar Laika</a>
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<a href="/app/" class="js-open-overlayer">e-flux App</a>
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<p>172 Classon Avenue<br>
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Brooklyn, NY 11205<br>
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USA</p>
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<p>172 Classon Avenue<br>
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Brooklyn, NY 11205<br>
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USA</p>
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|
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<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1600" data-srcset="https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,100 100w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,200 200w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,300 300w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,400 400w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,500 500w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,640 640w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,750 750w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,828 828w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1024 1024w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1125 1125w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1242 1242w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1280 1280w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1400 1400w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1500 1500w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1600 1600w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1700 1700w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1800 1800w,https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/240313_Alterlife_1440x809_eflux.gif,ht">
|
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|
||
|
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|
||
</a>
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</div>
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<span class="related__item-topline-date">March 19, 2024</span>
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<div class="related__item-client">
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Sonic Acts
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/
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Rupert
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</a>
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</div>
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<span class="logo-text">e</span>
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<span class="related__item-topline-date">March 19, 2024</span>
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</a>
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</a>
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<a href="/criticism/">Criticism</a>
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<div class="preview-criticism-home related__item">
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<div class="preview-criticism-home__inner js-open-overlayer"
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data-href="/criticism/595983/saskia-noor-van-imhoff-s-mineral-lick">
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<div class="preview-criticism-home__title">
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Saskia Noor van Imhoff’s “Mineral Lick”
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</div>
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<div class="preview-criticism-home__artists">
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<span>Tom Jeffreys</span>
|
||
</div>
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<div class="preview-criticism-home__text">
|
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<p>“Mineral Lick” is the first UK solo show for van Imhoff, whose previous work has focused on hierarchies of value within collecting institutions such as museums and archives. Here, she foregrounds unexpected material combinations underpinned by a fascination with grafting, hybridity, and the recontextualizing of materials. GRIMM’s street-level windows have been washed with white shading paint and the interior glows with pink-red light—both echoes of the forced growing conditions of commercial greenhouse production.</p>
|
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</div>
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<a href="/criticism/595983/saskia-noor-van-imhoff-s-mineral-lick"
|
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class="preview-criticism-home__image" style="padding-bottom: 66.7%">
|
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<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1600" data-srcset="https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,100 100w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,200 200w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,300 300w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,400 400w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,500 500w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,640 640w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,750 750w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,828 828w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1024 1024w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1125 1125w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1242 1242w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1280 1280w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1400 1400w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1500 1500w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1600 1600w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1700 1700w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1800 1800w,https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Installation_view_Mineral_Lick_GRIMM_London_UK_2024_11.jpg,ht">
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||
</a>
|
||
</div>
|
||
</div>
|
||
|
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<div class="preview-criticism-home related__item">
|
||
<div class="preview-criticism-home__inner js-open-overlayer"
|
||
data-href="/criticism/595667/el-fin-de-lo-maravilloso-cyberpop-en-mxico">
|
||
<div class="preview-criticism-home__title">
|
||
“El fin de lo maravilloso. Cyberpop en México”
|
||
</div>
|
||
<div class="preview-criticism-home__artists">
|
||
<span>Gaby Cepeda</span>
|
||
</div>
|
||
<div class="preview-criticism-home__text">
|
||
<p>Karol Woller Reyes’ “generational imagination” belongs to artists who have “naturally incorporated some creative strategies” such as digital montage and circuit bending into the production of paintings and sculptures that also abound with references to pop-cultural figures from Pokémon to Pepe the Frog. The implication is that the art of today is shaped by the technologies and media environment of its makers’ adolescence. </p>
|
||
|
||
</div>
|
||
<a href="/criticism/595667/el-fin-de-lo-maravilloso-cyberpop-en-mxico"
|
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class="preview-criticism-home__image" style="padding-bottom: 66.666666666667%">
|
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<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/0E4A0557.jpg,1600" data-srcset="https://images.e-flux-systems.com/0E4A0557.jpg,100 100w,https://images.e-flux-systems.com/0E4A0557.jpg,200 200w,https://images.e-flux-systems.com/0E4A0557.jpg,300 300w,https://images.e-flux-systems.com/0E4A0557.jpg,400 400w,https://images.e-flux-systems.com/0E4A0557.jpg,500 500w,https://images.e-flux-systems.com/0E4A0557.jpg,640 640w,https://images.e-flux-systems.com/0E4A0557.jpg,750 750w,https://images.e-flux-systems.com/0E4A0557.jpg,828 828w,https://images.e-flux-systems.com/0E4A0557.jpg,1024 1024w,https://images.e-flux-systems.com/0E4A0557.jpg,1125 1125w,https://images.e-flux-systems.com/0E4A0557.jpg,1242 1242w,https://images.e-flux-systems.com/0E4A0557.jpg,1280 1280w,https://images.e-flux-systems.com/0E4A0557.jpg,1400 1400w,https://images.e-flux-systems.com/0E4A0557.jpg,1500 1500w,https://images.e-flux-systems.com/0E4A0557.jpg,1600 1600w,https://images.e-flux-systems.com/0E4A0557.jpg,1700 1700w,https://images.e-flux-systems.com/0E4A0557.jpg,1800 1800w,https://images.e-flux-systems.com/0E4A0557.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/0E4A0557.jpg,ht">
|
||
</a>
|
||
</div>
|
||
</div>
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<div class="preview-criticism-home related__item">
|
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<div class="preview-criticism-home__inner js-open-overlayer"
|
||
data-href="/criticism/595641/mary-helena-clark-s-conveyor">
|
||
<div class="preview-criticism-home__title">
|
||
Mary Helena Clark’s “Conveyor”
|
||
</div>
|
||
<div class="preview-criticism-home__artists">
|
||
<span>Chris Murtha</span>
|
||
</div>
|
||
<div class="preview-criticism-home__text">
|
||
<p>Instead of leaning in to look, Clark has us leaning in to listen with <em>Monitors</em>, a freestanding pair of unvarnished, hollowed-out, and reconstructed steel doors. By outfitting the doors with audio transducers, the artist transforms them into speakers that fill the space with chatter and laughter. Closer listening reveals the voices of spectators at a zoo. One deep, unimpressed voice rises above the din: “You’re boring.” It’s unsettling. Unseen and unheard, the observed animals are made present only by the exclamations and comments of passing visitors.</p>
|
||
|
||
</div>
|
||
<a href="/criticism/595641/mary-helena-clark-s-conveyor"
|
||
class="preview-criticism-home__image" style="padding-bottom: 66.666666666667%">
|
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<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1600" data-srcset="https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,100 100w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,200 200w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,300 300w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,400 400w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,500 500w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,640 640w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,750 750w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,828 828w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1024 1024w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1125 1125w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1242 1242w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1280 1280w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1400 1400w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1500 1500w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1600 1600w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1700 1700w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1800 1800w,https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/MCH020a_GregoryCarideo.jpg,ht">
|
||
</a>
|
||
</div>
|
||
</div>
|
||
|
||
<div class="preview-criticism-home related__item">
|
||
<div class="preview-criticism-home__inner js-open-overlayer"
|
||
data-href="/criticism/595068/esther-mahlangu-s-then-i-knew-i-was-good-at-painting">
|
||
<div class="preview-criticism-home__title">
|
||
Esther Mahlangu’s “Then I Knew I Was Good at Painting”
|
||
</div>
|
||
<div class="preview-criticism-home__artists">
|
||
<span>Ben Eastham</span>
|
||
</div>
|
||
<div class="preview-criticism-home__venue">
|
||
Iziko South African National Gallery
|
||
</div>
|
||
<div class="preview-criticism-home__text">
|
||
<p>The standout works in an exhibition curated by Nontobeko Ntombela do not fit neatly into the narratives for which Mahlangu has often been claimed. The first of these pleasant surprises comes in the second room, with an AK47 rendered in Ndebele beadwork and resembling a glittering soft toy. By transforming phallic armament into flaccid ornament, <em>Beaded Rifle </em>(2013) offers an alternative take on the artist as a proponent of “soft power.” </p>
|
||
|
||
</div>
|
||
<a href="/criticism/595068/esther-mahlangu-s-then-i-knew-i-was-good-at-painting"
|
||
class="preview-criticism-home__image" style="padding-bottom: 60.984023238925%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1600" data-srcset="https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,100 100w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,200 200w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,300 300w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,400 400w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,500 500w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,640 640w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,750 750w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,828 828w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1024 1024w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1125 1125w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1242 1242w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1280 1280w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1400 1400w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1500 1500w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1600 1600w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1700 1700w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1800 1800w,https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Esther_Mahlangu_C1274_96x168_2017.jpg,ht">
|
||
</a>
|
||
</div>
|
||
</div>
|
||
|
||
<div class="preview-criticism-home related__item">
|
||
<div class="preview-criticism-home__inner js-open-overlayer"
|
||
data-href="/criticism/594951/catherine-opie-s-walls-windows-and-blood">
|
||
<div class="preview-criticism-home__title">
|
||
Catherine Opie’s “Walls, Windows, and Blood”
|
||
</div>
|
||
<div class="preview-criticism-home__artists">
|
||
<span>Sylvie Fortin</span>
|
||
</div>
|
||
<div class="preview-criticism-home__venue">
|
||
Lehmann Maupin
|
||
</div>
|
||
<div class="preview-criticism-home__text">
|
||
<p>They say ghosts, vampires, and the soulless cast no shadows. Shot in a Vatican City emptied of visitors during the pandemic summer of 2021, Catherine Opie’s new photographs provocatively reshuffle different threads of her longstanding inquiries—the spectrum from transparency to opacity; communal spaces; the body as/and architecture; queerness and institutions.</p>
|
||
|
||
</div>
|
||
<a href="/criticism/594951/catherine-opie-s-walls-windows-and-blood"
|
||
class="preview-criticism-home__image" style="padding-bottom: 54.942857142857%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1600" data-srcset="https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,100 100w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,200 200w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,300 300w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,400 400w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,500 500w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,640 640w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,750 750w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,828 828w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1024 1024w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1125 1125w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1242 1242w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1280 1280w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1400 1400w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1500 1500w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1600 1600w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1700 1700w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1800 1800w,https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/CO_Blood_grid_1_hr.jpg,ht">
|
||
</a>
|
||
</div>
|
||
</div>
|
||
|
||
<div class="preview-criticism-home related__item">
|
||
<div class="preview-criticism-home__inner js-open-overlayer"
|
||
data-href="/criticism/594233/amalia-pica-s-aula-expandida">
|
||
<div class="preview-criticism-home__title">
|
||
Amalia Pica’s “Aula Expandida”
|
||
</div>
|
||
<div class="preview-criticism-home__artists">
|
||
<span>Noah Simblist</span>
|
||
</div>
|
||
<div class="preview-criticism-home__venue">
|
||
Tanya Bonakdar Gallery
|
||
</div>
|
||
<div class="preview-criticism-home__text">
|
||
<p>How might our understanding of education better incorporate communication, participation, and play? And what would be the consequences of that expanded approach? Such questions have been at the center of Amalia Pica’s work for many years, drawing partially on her early experience as a primary school teacher. Her first solo exhibition in New York attends to the manifold aspects of learning across a group of collages, sculptures, and video works organized around a new interactive installation.</p>
|
||
|
||
</div>
|
||
<a href="/criticism/594233/amalia-pica-s-aula-expandida"
|
||
class="preview-criticism-home__image" style="padding-bottom: 54.533333333333%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/TBG25320_v2.jpg,1600" data-srcset="https://images.e-flux-systems.com/TBG25320_v2.jpg,100 100w,https://images.e-flux-systems.com/TBG25320_v2.jpg,200 200w,https://images.e-flux-systems.com/TBG25320_v2.jpg,300 300w,https://images.e-flux-systems.com/TBG25320_v2.jpg,400 400w,https://images.e-flux-systems.com/TBG25320_v2.jpg,500 500w,https://images.e-flux-systems.com/TBG25320_v2.jpg,640 640w,https://images.e-flux-systems.com/TBG25320_v2.jpg,750 750w,https://images.e-flux-systems.com/TBG25320_v2.jpg,828 828w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1024 1024w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1125 1125w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1242 1242w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1280 1280w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1400 1400w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1500 1500w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1600 1600w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1700 1700w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1800 1800w,https://images.e-flux-systems.com/TBG25320_v2.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/TBG25320_v2.jpg,ht">
|
||
</a>
|
||
</div>
|
||
</div>
|
||
|
||
<div class="preview-criticism-home related__item">
|
||
<div class="preview-criticism-home__inner js-open-overlayer"
|
||
data-href="/criticism/592526/fokus-hamed-abdalla">
|
||
<div class="preview-criticism-home__title">
|
||
“Fokus: Hamed Abdalla”
|
||
</div>
|
||
<div class="preview-criticism-home__artists">
|
||
<span>Kaelen Wilson-Goldie</span>
|
||
</div>
|
||
<div class="preview-criticism-home__venue">
|
||
Zentrum Paul Klee
|
||
</div>
|
||
<div class="preview-criticism-home__text">
|
||
<p>This jewel box-sized exhibition devoted to Abdalla’s work, organized by Morad Montazami and Madeleine de Colnet of the Paris-based publishing and curatorial project Zamân, features six of his amorous pairings. The earliest lovers in the show are <em>Les Amants de Shemm Ennessim</em> [The Lovers of Shemm Ennessim], from 1953, a sweet gouache on silk paper showing a couple in traditional dress, facing each other demurely in profile but slyly extending their arms to embrace.</p>
|
||
|
||
</div>
|
||
<a href="/criticism/592526/fokus-hamed-abdalla"
|
||
class="preview-criticism-home__image" style="padding-bottom: 49.05%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/05_12.jpg,1600" data-srcset="https://images.e-flux-systems.com/05_12.jpg,100 100w,https://images.e-flux-systems.com/05_12.jpg,200 200w,https://images.e-flux-systems.com/05_12.jpg,300 300w,https://images.e-flux-systems.com/05_12.jpg,400 400w,https://images.e-flux-systems.com/05_12.jpg,500 500w,https://images.e-flux-systems.com/05_12.jpg,640 640w,https://images.e-flux-systems.com/05_12.jpg,750 750w,https://images.e-flux-systems.com/05_12.jpg,828 828w,https://images.e-flux-systems.com/05_12.jpg,1024 1024w,https://images.e-flux-systems.com/05_12.jpg,1125 1125w,https://images.e-flux-systems.com/05_12.jpg,1242 1242w,https://images.e-flux-systems.com/05_12.jpg,1280 1280w,https://images.e-flux-systems.com/05_12.jpg,1400 1400w,https://images.e-flux-systems.com/05_12.jpg,1500 1500w,https://images.e-flux-systems.com/05_12.jpg,1600 1600w,https://images.e-flux-systems.com/05_12.jpg,1700 1700w,https://images.e-flux-systems.com/05_12.jpg,1800 1800w,https://images.e-flux-systems.com/05_12.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/05_12.jpg,ht">
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</a>
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data-href="/criticism/593935/the-usual-suspects">
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<div class="preview-criticism-home__title">
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The usual suspects
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</div>
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<span>The Editors</span>
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</div>
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<div class="preview-criticism-home__text">
|
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<p>If the kneejerk impulse might be to decry political interference in cultural institutions, then it is worth bearing in mind the recent and justified insistence from progressive alliances that politics cannot responsibly be separated entirely from art. The issue is not only whether art must always “belong” to one side in an entrenched culture war, but how it might be possible to formulate and promulgate independent expression within increasingly partisan infrastructures.</p>
|
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</div>
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<a href="/criticism/593935/the-usual-suspects"
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class="preview-criticism-home__image" style="padding-bottom: 77.633333333333%">
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data-href="/criticism/592853/another-beautiful-country-moving-images-by-chinese-american-artists">
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<div class="preview-criticism-home__title">
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“Another Beautiful Country: Moving Images by Chinese American Artists”
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</div>
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<div class="preview-criticism-home__artists">
|
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<span>Vanessa Holyoak</span>
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</div>
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<div class="preview-criticism-home__venue">
|
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USC Pacific Asia Museum
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</div>
|
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<div class="preview-criticism-home__text">
|
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<p>The Chinese term <em>gūanxi </em>describes a web of relations between friends, family, lovers, co-workers, even corrupt politicians. It evokes a sense of community and belonging that can prove elusive for the diverse group of people commonly referred to as “Chinese American,” a one-size-fits-all label that attempts to forge a singular identity out of a heterogeneous array of diasporic experiences shaped by displacement, immigration, and cross-cultural translation.</p>
|
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|
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</div>
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<a href="/criticism/592853/another-beautiful-country-moving-images-by-chinese-american-artists"
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Issue #143 </div>
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March 2024
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Issue #142 </div>
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ETH Zürich
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<a href="/announcements/593725/assistant-professor-of-landscape-architecture/"
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class="related__item-title js-open-overlayer"> Assistant Professor of Landscape Architecture</a>
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Princeton University School of Architecture
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<p><em>Substrait (Underground Dailies)</em></p>
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<div class="video-featured__date">March 1-31, 2024</div>
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<div class="related__inner">
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<div class="related__top">
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<div class="related__top-title">
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<a href="/notes/">Notes</a>
|
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</div>
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<div class="related__top-arrows">
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<div class="preview-note preview-note--homepage related__item">
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<div class="preview-note__date">
|
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March 15, 2024
|
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</div>
|
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<div class="preview-note__title">
|
||
<a href="/notes/596103/a-conversation-on-late-fascism" class="js-open-overlayer">A Conversation on Late Fascism</a>
|
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</div>
|
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|
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<a href="/notes/596103/a-conversation-on-late-fascism" class="preview-note__image js-open-overlayer">
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<div class="lazyimage-container" style="padding-bottom: 71.640625%">
|
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<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1600" data-srcset="https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,100 100w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,200 200w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,300 300w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,400 400w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,500 500w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,640 640w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,750 750w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,828 828w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1024 1024w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1125 1125w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1242 1242w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1280 1280w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1400 1400w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1500 1500w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1600 1600w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1700 1700w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1800 1800w,https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Screenshot_2024_03_13_at_13.28.22.png,ht">
|
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</div>
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</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Alberto Toscano and Evan Calder Williams
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
March 13, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/595494/kafka-and-the-politics-of-despair" class="js-open-overlayer">Kafka and the Politics of Despair</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/595494/kafka-and-the-politics-of-despair" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 75.46875%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Kafka_drawing_med_.png,1600" data-srcset="https://images.e-flux-systems.com/Kafka_drawing_med_.png,100 100w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,200 200w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,300 300w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,400 400w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,500 500w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,640 640w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,750 750w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,828 828w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1024 1024w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1125 1125w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1242 1242w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1280 1280w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1400 1400w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1500 1500w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1600 1600w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1700 1700w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1800 1800w,https://images.e-flux-systems.com/Kafka_drawing_med_.png,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Kafka_drawing_med_.png,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Ben Ware
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
March 7, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/594408/two-memories-of-77" class="js-open-overlayer">Two Memories of ’77</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/594408/two-memories-of-77" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 70.9375%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Dragon_med_.jpg,1600" data-srcset="https://images.e-flux-systems.com/Dragon_med_.jpg,100 100w,https://images.e-flux-systems.com/Dragon_med_.jpg,200 200w,https://images.e-flux-systems.com/Dragon_med_.jpg,300 300w,https://images.e-flux-systems.com/Dragon_med_.jpg,400 400w,https://images.e-flux-systems.com/Dragon_med_.jpg,500 500w,https://images.e-flux-systems.com/Dragon_med_.jpg,640 640w,https://images.e-flux-systems.com/Dragon_med_.jpg,750 750w,https://images.e-flux-systems.com/Dragon_med_.jpg,828 828w,https://images.e-flux-systems.com/Dragon_med_.jpg,1024 1024w,https://images.e-flux-systems.com/Dragon_med_.jpg,1125 1125w,https://images.e-flux-systems.com/Dragon_med_.jpg,1242 1242w,https://images.e-flux-systems.com/Dragon_med_.jpg,1280 1280w,https://images.e-flux-systems.com/Dragon_med_.jpg,1400 1400w,https://images.e-flux-systems.com/Dragon_med_.jpg,1500 1500w,https://images.e-flux-systems.com/Dragon_med_.jpg,1600 1600w,https://images.e-flux-systems.com/Dragon_med_.jpg,1700 1700w,https://images.e-flux-systems.com/Dragon_med_.jpg,1800 1800w,https://images.e-flux-systems.com/Dragon_med_.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Dragon_med_.jpg,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Franco “Bifo” Berardi
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
March 5, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/593806/a-thousand-little-machines" class="js-open-overlayer">A Thousand Little Machines</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/593806/a-thousand-little-machines" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 68.4375%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1600" data-srcset="https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,100 100w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,200 200w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,300 300w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,400 400w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,500 500w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,640 640w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,750 750w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,828 828w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1024 1024w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1125 1125w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1242 1242w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1280 1280w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1400 1400w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1500 1500w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1600 1600w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1700 1700w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1800 1800w,https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Thousand_Little_Machines_cover_med_.png,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Jamila Squire and Seth Wheeler
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
February 28, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/592580/the-mirror-stage-of-the-upper-class" class="js-open-overlayer">The Mirror Stage of the Upper Class</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/592580/the-mirror-stage-of-the-upper-class" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 126.98412698413%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1600" data-srcset="https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,100 100w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,200 200w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,300 300w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,400 400w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,500 500w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,640 640w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,750 750w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,828 828w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1024 1024w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1125 1125w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1242 1242w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1280 1280w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1400 1400w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1500 1500w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1600 1600w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1700 1700w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1800 1800w,https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/La_Reproduction_interdite_med_.jpg,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Boris Groys
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
February 21, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/591226/transgender-robotics-on-love" class="js-open-overlayer">Transgender Robotics: On Love</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/591226/transgender-robotics-on-love" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 54.046242774566%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1600" data-srcset="https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,100 100w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,200 200w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,300 300w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,400 400w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,500 500w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,640 640w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,750 750w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,828 828w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1024 1024w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1125 1125w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1242 1242w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1280 1280w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1400 1400w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1500 1500w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1600 1600w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1700 1700w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1800 1800w,https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Transgender_Robotics_pic_1.png,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Isadora Neves Marques
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
February 16, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/590427/everybody-gets-to-be-a-fascist-or-what-taylor-swift-taught-me-about-fascism" class="js-open-overlayer">Everybody Gets to Be a Fascist, or, What Taylor Swift Taught Me About Fascism</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/590427/everybody-gets-to-be-a-fascist-or-what-taylor-swift-taught-me-about-fascism" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 56.796875%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1600" data-srcset="https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,100 100w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,200 200w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,300 300w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,400 400w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,500 500w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,640 640w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,750 750w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,828 828w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1024 1024w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1125 1125w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1242 1242w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1280 1280w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1400 1400w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1500 1500w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1600 1600w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1700 1700w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1800 1800w,https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Late_Fascism_cover_med_.png,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Jason Read
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
February 14, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/589795/another-end-of-the-world-is-possible" class="js-open-overlayer">Another End of the World Is Possible</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/589795/another-end-of-the-world-is-possible" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 60%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1600" data-srcset="https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,100 100w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,200 200w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,300 300w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,400 400w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,500 500w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,640 640w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,750 750w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,828 828w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1024 1024w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1125 1125w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1242 1242w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1280 1280w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1400 1400w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1500 1500w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1600 1600w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1700 1700w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1800 1800w,https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Torus_fusion_facility_med_.jpg,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Oxana Timofeeva
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
February 9, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/589060/against-anti-theory" class="js-open-overlayer">Against Anti-theory</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/589060/against-anti-theory" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 97.65625%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Immediacy_cover_med_.png,1600" data-srcset="https://images.e-flux-systems.com/Immediacy_cover_med_.png,100 100w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,200 200w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,300 300w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,400 400w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,500 500w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,640 640w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,750 750w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,828 828w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1024 1024w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1125 1125w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1242 1242w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1280 1280w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1400 1400w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1500 1500w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1600 1600w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1700 1700w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1800 1800w,https://images.e-flux-systems.com/Immediacy_cover_med_.png,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Immediacy_cover_med_.png,ht">
|
||
</div>
|
||
</a>
|
||
|
||
<div class="preview-note__authors">
|
||
By Anna Kornbluh
|
||
</div>
|
||
</div>
|
||
<div class="preview-note preview-note--homepage related__item">
|
||
<div class="preview-note__date">
|
||
February 5, 2024
|
||
</div>
|
||
<div class="preview-note__title">
|
||
<a href="/notes/587707/internet-as-novel" class="js-open-overlayer">Internet as Novel</a>
|
||
</div>
|
||
|
||
|
||
|
||
<a href="/notes/587707/internet-as-novel" class="preview-note__image js-open-overlayer">
|
||
<div class="lazyimage-container" style="padding-bottom: 74.792243767313%">
|
||
<img class="js-lazyload lazyimage" data-src="https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1600" data-srcset="https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,100 100w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,200 200w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,300 300w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,400 400w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,500 500w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,640 640w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,750 750w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,828 828w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1024 1024w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1125 1125w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1242 1242w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1280 1280w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1400 1400w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1500 1500w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1600 1600w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1700 1700w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1800 1800w,https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,1920 1920w" data-sizes="auto" alt="" src="https://images.e-flux-systems.com/Mikhail_bakhtin.jpg,ht">
|
||
</div>
|
||
</a>
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<div class="preview-note__authors">
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By Boris Groys
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<p>Unlike literature or art, music appears to be nonrepresentational, at least at first. “But music also is a place of sorts,” says musicologist Holly Watkins, “replete with its own metaphorical locations, types of motion, departures, arrivals, and returns.” Songs articulate distance, texture, and intent. They respond to the acoustics of landscapes and social structures; they are amplified in some spaces and dampened in others. By listening to sounds—and the way they have been transcribed, adapted, and memorialized—we can trace otherwise invisible political interventions into landscapes and soundscapes and, in return, understand these interventions as documents, instructions, or scores.</p>
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Wet Togetherness [8]—Discharging: Cyan Cheng, Marco Ferrari and Elise Hunchuck presented by Shanghai Biennale
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