Year 2: Month 5: Volume 2
backward in comparison
Welcome to (Year 2: Month 5: Volume 2), 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 first mixtape is now available for free!! The second one is coming soon!
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…
Latefa Wiersch “is a visual artist, born in Dortmund, lives in Zurich. She works mostly with textile materials, creates sculptures, anthropomorphic objects, puppets, installations and performances.”
Iranian artist Salman Khoshroo
Tristan Murail - Ethers (w/ score) (for flute and ensemble) (1978)
Amélie Brisson-Darveau is an artist who was born in 1976 working between Montreal and Zürich
The ‘postmodern’ moment, especially the French versions of figures such as Foucault and Gilles Deleuze, began to focus on the ways that the linguistic construction of reality, a structure without foundations, is ‘always already’ collapsing.
— from “The post-linguistic turn” by Crispin Sartwell, via Aeon
Riikka Tauriainen born in Oulu, Northern Finland (FI), lives and works in Zurich.
Kamari Carter “is a producer, performer, sound designer, and installation artist primarily working with sound and found objects.”
Heimo Zobernig “is an Austrian artist who works in a variety of media from painting and sculpture to site specific installation and design.”
Marlos E'van is a multi-disciplinary artist based in Nashville
Emmalea Russo: You know the feeling of finishing a popsicle: teeth scraping the stick as you lick the last of the cold sweet stuff? Years ago, someone told me that my work gave her that sensation. […] On its surface, poetry is perplexing, right? When it’s working, it stirs another form of understanding under/around the words. Beyond getting it or not getting it. That’s what I like about it.
— from Emmalea Russo interviewed by Stephanie Yue Duhem, via Full Stop
Layo Bright “works in sculpture and installation to build visual compositions that address African narratives.”
The dominant artistic modes of the current age can be roughly organized into what might be called ague art and plague art. The former offers a clear moral code as a tonic for the fevers that bedevil us. It documents the social ills and inequalities that waste us, individually and collectively, to the bone. It’s fundamentally diagnostic and often prescriptive. Ague art aims its rhetorical cannons at a clear perpetrator, or it comforts a victim. It frequently mobilizes nostalgia. It speaks of solace for the elect. It believes in art’s autonomy and its ability to speak with authority from outside the unjust systems that wreck us.
Plague art offers no such prescriptions. Apocalyptic by nature, plague art metabolizes mass death and planetary extinction yet offers documents of survival, real or imaginary. It is everywhere swampier than ague art because the agents of harm cannot be directly addressed, much less surmounted, by any one individual. It is the unruly domain of the danse macabre, the memento mori, the vanitas of shock and trauma that will not resolve. It memorializes, resists, and fantasizes escape. It cannot extricate itself from injurious systems, or from death itself. Actual repair is unimaginable because the claim of death is that absolute, an event horizon delineating a black hole.
— from “The Ultimate Bone: Sex meets death in Deborah Landau’s Skeletons” by Lara Glenum, via Poetry Foundation
Nine Yamamoto-Masson “is a French-Japanese artist, theorist, writer, community organiser, activist, and translator.”
Marjan Verstappen “makes photographic fiction, objects for the anthropocene, and art for the unforeseeable future.”
Anna Sorokovaya “is a Ukrainian visual artist and curator working in interdisciplinary projects. She also works towards the preservation of Soshenko 33, an art space in Kyiv.”
Paul Cunningham reads from Fall Garment (Schism Press) at Seattle's Bad Bar (03/10/2023)
Hunter Creel “is an artist whose practice revolves around his unique access to the multi-verse in attempt to discover, collect, observe new forms of technology, information, energy, and resources.”
Cameron Granger “grew up in Cleveland, Ohio, inheriting both a love of soul music, and a tendency for apologizing too much. His work explores his place in, and role as a product of American media.”
Agata di Masternak is a Contemporary Polish artist based in London
Sholeh Asgary “is an Iranian-American multidisciplinary artist, educator and organizer who references lens-based media through sculpture, painting, installation, and sound.”
Janet Loren Hill is a New York City-based artist.
“As an artist and writer based in Hong Kong, 阿三 Chan Sai-lok glides across fields of art and literary practice, education, art criticism and gender studies.”
Nathan Riggs - “What's up with Paul Virilio?”
Fuco Ueda “was born in Yokohama, Japan in 1979 and graduated from the Tokyo Polytechnic University of Arts Graduate School in 2003.”
Tim Drage - Cementimental work-in-progress time blend fx experiments [epilepsy warning]
Benji Anderson (b. 1996) is a self-taught artist from Nashville, TN.
