Year 2: Month 10: Volume 1
trying to execute a face
Welcome to (Year 2: Month 10: Volume 1), the new exclusive collection for paid subscribers! Thank you again for supporting this project, I really appreciate it!
As always it’s absolutely bursting with contemporary art, fashion, music, literature, videos, and other uncategorizable materials…
If you’re not yet a paid subscriber, now is the perfect time to start! Only $5 a month or $55 a year! That gets you two issues a month plus access to the entire back catalog.
ICYMI: The third mixtape is now available for free!! And in case you missed the previous two, here’s Mixtape #1 and Mixtape #2.
Don’t forget this newsletter will exceed most email limits, so you’ll need to click through to “view entire message” at the bottom of this email or click over to the website to enjoy the whole thing.
And remember, every entry comes with a link so you can explore more and more.
Now then, without further ado…
Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself. The reason for this deterioration is clearly the emergence of productive forces that necessitate other production relations and a new practice of life. In the civil-war phase we are engaged in, and in close connection with the orientation we are discovering for certain superior activities to come, we believe that all known means of expression are going to converge in a general movement of propaganda that must encompass all the perpetually interacting aspects of social reality.
— "A User’s Guide to Détournement" by GUY DEBORD, GIL J WOLMAN (1956)
Jeroen van Veen: Piano Music, Vol. 1
Naomi White “is an abolitionist feminist, artist, and educator, working on ideas at the intersection of political ecology and photography.”
Comme Des Garçons | Spring Summer 2024 | Full Show
Who’s to blame for the plight of higher education? Time to consult the mirror. Looked at one way, academics are their own worst enemies. But viewed from another angle, their failure to defend their own collective interest makes more sense: the collective is not their concern. If the goal is to get ahead of the next guy, then a general deterioration of conditions is a cost that can be borne. For all the heart-rending laments from academics about the state of the universities, the reality may be still more depressing. Maybe they like what they see.
— from “The Sycophant” by LORNA FINLAYSON, via Sidecar
Laura Lucía Sanz is from Bogotá, Colombia
One of the basic situationist practices is the dérive, a technique of rapid passage through varied ambiences. Dérives involve playful-constructive behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.
— "Theory of the Dérive" by GUY DEBORD (1958)
Noir Kei Ninomiya | Spring Summer 2024 | Full Show
No one is likely to shame you for not having read Dracula, the way they do The Mill on the Floss or Middlemarch, though perhaps they should and perhaps that is, ever so subtly, what I am up to now. I was once the sort of person who thought they knew Dracula, and might have spent my adult life without reading the novel until a close friend dropped some very suspect-sounding and yet enthralling literary gossip: Dracula was rumored, he said, to have been inspired by Bram Stoker’s visit to see Walt Whitman with Oscar Wilde. Stoker had seen them kiss. Who inspired Dracula of the two, I asked him. Wilde, he said.
— from “When Horror Is the Truth-teller” by Alexander Chee, via Guernica
Allison Wade is a visual artist and educator working primarily in sculpture.
Tongue In The Mind — Pretty Canary
Director: Hendrik Schneider
* Pick a word or phrase at random, let mind play freely around it until a few ideas have come up, then seize on one and begin to write. Try this with a non- connotative word, like "so" etc. * Systematically eliminate the use of certain kinds of words or phrases from a piece of writing: eliminate all adjectives from a poem of your own, or take out all words beginning with 's' in Shakespeare's sonnets. * Rewrite someone else's writing. Experiment with theft and plagiarism. * Systematically derange the language: write a work consisting only of prepositional phrases, or, add a gerund to every line of an already existing work. * Get a group of words, either randomly selected or thought up, then form these words (only) into a piece of writing-whatever the words allow. Let them demand their own form, or, use some words in a predetermined way. Design words.
— from Bernadette Mayer's Writing Experiments
CHOCHENG | Spring Summer 2024 | Parapluies
Andreia Santana (Lisbon, 1991) is a visual artist living and working between Lisbon and New York.
Plenty of musicians claim a wide-ranging set of artistic influences. But few can conceive of a stylistic retinue as dizzyingly diverse as the one that inspires saxophonist and composer Anthony Braxton. When he accepted the NEA’s bestowal of “Jazz Master” status, back in 2014, he gave a speech in which he cited the saxophonist Paul Desmond (best known for his work with Dave Brubeck), as well as the University of Michigan marching band and John Philip Sousa. Later in the same talk, Braxton described “taking classes on the great music of the Native Americans – their ghost dance music, for instance.”
— from “Anthony Braxton: Ghost Trance Music: Mapping the Systems of the Jazz Musician’s Sound” by Seth Colter Wall
Anna Perach (1985, Ukraine) is an Israeli artist living and working in London, UK.
Marni | Spring Summer 2024 | Full Show
Jimena Chávez Delion is a visual artist born in Lima – Peru.
Maison Margiela | Spring Summer 2024 | Full Show
Krystle Lemonias (Jamaican, b. 1989) is an interdisciplinary visual artist, labor activist, and art educator.
Wolf Eyes and Anthony Braxton Pt. 1 - Zebulon Cafe 10-4-2023
The piece of evidence we had received in a wholly dissimulative manner (a coded missive worthy of Pynchon’s postal service from Inherent Vice) that there were suggestions that Deleuze had been visited in the middle of the night by a Stranger, while an extraordinary progress in the case, also left us as interminably exposed and vulnerable. As someone known to be possibly ‘in the secret know’, we were now undoubtedly in mortal danger. Remembering in a crucial manner that to stay alive, to self-preserve, is also to stay on the trail, to continue the role of Metaphysical Detective in this curiouser and curiouser mystery.
— from “WHO KILLED GILLES DELEUZE? (EPISODE 1)” by Jones Irwin, via The Decadent Review
Ville Kansanen (b.1984) is a Finnish multidisciplinary artist based in California.
One of the gifts that Williams brought to modern and contemporary poetry was his recognition of the difficulty of finding language, of choosing words. Many of the better established modern poets—Eliot, Stevens, even e. e. cummings—were more interested in polishing the word, moving it into patterns that defied past aesthetic forms. Their art was the art of construction, reconstruction. Williams’s was the art of bringing emotion into words.
— from “Reading William Carlos Williams” by Linda Wagner-Martin, via Dalkey Archive
Aziza Mamadaliyeva is a visual artist born and raised in Shymkent, Kazakhstan.
Rick Owens | Spring Summer 2024 | Full Show
Bec Imrich is an artist, writer, and educator born in Cambridge and working in San Francisco.
Bradley Marshall is a sculptor from Nashville, TN.
One could summarize in the above terms what Michel Foucault meant by biopower: that domain of life over which power has taken control. But under what practical conditions is the right to kill, to allow to live, or to expose to death exercised? Who is the subject of this right? What does the implementation of such a right tell us about the person who is thus put to death and about the relation of enmity that sets that person against his or her murderer? Is the notion of biopower sufficient to account for the contemporary ways in which the political, under the guise of war, of resistance, or of the fight against terror, makes the murder of the enemy its primary and absolute objective?
from “Necropolitics” by J.-A. Mbembé, Libby Meintjes, via Public Culture
Catherine Czacki is an artist, writer and musician of Polish/Tatar and American descent.
Anthony Braxton Quartet - London Jazz Cafe - April 2 1991 Set 2
Cecilia Fiona is a self-trained Danish artist with no formal art training.
Cho, Hui-Chin is a contemporary artist of Taiwanese and Dutch descent based in London.
Valentino | Spring Summer 2024 | Full Show
Kacy Jung, “who immigrated to the US from Taiwan, was halfway through a PhD in biomedical science when she decided to walk out of the laboratory to pursue her lifetime dream of being an artist.”
