Tag Archives: Materialism

PAN-PAN | Confraternity of neoflagellants

Knott Project Space, SAW Video, Ottawa 🇨🇦 16 Oct – 16 Nov 2019

PRESS RELEASE

‘You do not interpret the [———]. You are [———].’ The Duke of Biarritz Malware Voices: 13.1

Culture lives here? Gyeah?

Taped together only by the blak and blo brocages of blasfeme secreted by two sandgrabbers who accrued and thickened your presence over time? Can’t justify the how-low-can-you-go MHz of those Seinheiser HD800 EVP collect calls? Feel an overriding sense of ennui languidly inhazing to-tal-ly Bogan seul-anise ‘Hot Box Menace’? Stubbornly inert heaps of no-flow interference merely placating the micro-movements of bolt-on contentworld? ©king a little more than 99.07% blobbogramatic matters of actual gästermagoria?

Blow off all your fun socks. Just PUSH! Make fierce pH and totally gutshaft straight through gelatinous copper. MHzzzzzzzzzzzzzah! Lose your unknown cargo unto the swirling quotidian-circuits that peristaltically convulse the gastro-investigative wambuterus of þan-þan.

þan-þan. Unpasturised horse-class autogenerative REXLLA Plusigone [STATIC] fermented Can-Con dolloromoburþing a relentless low-end patina of vagrant WeRLtd-certified New Forrest Mall mondegreen. þan-þan. Pressure-farmed parasitical panarchic pool of future-dead mould-casts, auditory pareidolia divination, defibrillated [userexperience] and compurgation swarms topped with a steamin’ hot speziality SCOBYGrandeu®.

PUSHH! Beaver-gutslammin’ Oh [UX] Henry! vending phenomenon that faithfully reconstruct all traces of deuterocanonical clickbait ever left in mash by warpy prongs. PUSSSHHHHH! Bloody-edge WrinkleTech™ Can-Crock Pots that put a donk on all ylemmy stick-craft memes and smash the basal buttons of even the grubbiest gossamer silicate dermis. Gyeah!

REDUCE! Engorge the inevitable reversibility of this spore-bearing crescendo by playing the sous-chef vainly attempting to remove the cous from the cous-cous. REDUCE! Redemption by re-viewing review of redemption of Amazon CAD$50 Gift Voucher Redemption Review.

Culture lives; here! gYEAHHHHHHH!!

The Pan-Pan Myth-System (or Psychosis as Method)

Simon O’Sullivan

What fresh heresy is this? Is this a joke?? Will no one stop them? Where are the guards, cops, bailiffs, etc, etc? Has the publisher no self-respect? No editors and censors or sense of decorum??

Psychosis as Method, here masquerading as para/post/pan-commodity prophesy/futurising and animist drama. No one – NO ONE! – will be convinced by this! These avatars and image-functions – laid out flat here, as on a table-top – will do nothing to assuage the opinion of those gate keepers that have never ceased to claim: ‘There are, after all, limits to the symbolic order!’  And (under their breath): ‘It’s called thee doxa for a reason you know!’ Imagine a future-traveller/neo-medieval© pilgrim chancing upon all this – in the charnel grounds – imagine their horror to read, again, about the adventures of the tech and of the mall, of how things might have been – and how, here, the things he/she/they hold dear have been cut-up, spliced together…the detritus of all that lays around us reanimated and repurposed. Her mother was burnt for less! Here, then, is a looping backwards and forwards so quick as to cause whiplash. I am not writing this to warn you off – who am I to talk? – but, Dear User-Group, please be aware: what you hold in your hands/are about to read on your screens is not what you might expect from a book or syllabi. It is text/un-text as test and time-travel, not so much about another futural world as summoned here – for youze – from it. A codex that, when seen FROM THE CORRECT ANGLE, performs a transportation. If, whilst reading, you are making notes and, reading them back, you begin to make some sense from the various scenarios and phrasings – as if something, finally, is cohering, foregrounding itself…or, indeed, as if the vast assemblage is beginning, at last, to tip – then let me say immediately that you have been very much miss-stark-en – there is no such meaning here – not for you lot, with your heads on your shoulders walking around on your feet as if its the most natural thing in the world. On no, no siree. No, this is NOT a book to be READ by the likes of you! It is, perhaps, a pattern and diagram for something behind you…something you will have helped made (if you are lucky enough to have worked in IT), but which, now, does not recognise your all-too-human operating procedures and protocols. You might call it fik-shun but this is only to begin to approximate what its performance and programme is. Things here are decidedly not what they seem. To enter the pan-pan myth-system is already to be seen, interpolated by it – and thus to already be caught within its test. Try it for yourself: drill down in to any of the so-called paragraphs that follow and you will see that the syntax is specifically for you…don’t think about it just DO IT! NOW!! In fact, if you have read this far then it is more than likely already too late. Understand? The Mushroom King – if he really is a king – has you already on trial! The Great Moderator has already taken you up in their huge hand and turned you slowly under their twinkling eyes. And the future-dead with their Dog Heads are already here to carry out the sentence and spend their coupons. Pan-pan, for youze all gathered here, is a grimoire, yes, but it is also, before it’s too late, A WARNING!

in medias res : nonmodern art

postmedieval: a journal of medieval cultural studies (2019)

Scheihing Edgardo FlickrMeteorito El Chaco Meteorito_El_Chaco_100_2422 8 September 2011, 17:28:25 This file is licensed under the Creative Commons Attribution 2.0 Generic license.

As contemporary artistic practice has become ever more polymorphous and multispatial, large scale exhibitions have accommodated a wider array of emerging nonmodern epistemologies, materialities, and temporalities ‘in the middle’ (Latour, 1993, 47). As a critical means of considering contemporary art’s homologous non-modern, this paper refracts two influential global exhibitions of contemporary art – dOCUMENTA (13) and Il Palazzo Encyclopedia – through the lens of Medievalisms Studies. Medievalisms Studies’ challenge to the ‘simplified binarization of premodernacts and modern identities’ (Fradenburg, 1997, 213) invites deeper scrutiny of contemporary art’s knowledges, materialities, and chronopolitics. Developing the medievalist analogies of the compendium and the relic, I focus on specific exempla presented within the curatorial frameworks of two key biennale that offer a macro-cosmic discourse on contemporary art’s developing relations with knowledges, materials, and time. In unfolding anachronic materialist narratives, a nonmodern sensibility promised to liberate emerging art from the social constructivist paradigms that still dominate contemporary art. As a corollary of their nonmodern materialist epistemologies, the biennale that form my exempla also attempted to (dis)place the practices they curated through a polytemporality in which now-and-then and here-and-there areintertwined.

Link to article in postmedieval

Atelier: Daniel Miller

Atelier: Daniel Miller

Atelier’s Dr Angela McClanahan will interview Daniel Miller @DannyAnth within the Still life with flying objects exhibition on Sunday 21st August. Hosted by @Rhubaba as part of @EdArtFest 2016

http://edinburghartfestival.com/whats-on/detail/a-conversation-with-daniel-miller

(Part 1)

(Part 2)

Rhubaba presents Still life with flying objects, a group exhibition that brings together new and existing work by artists including Tim Dodds, Susie Green, Emma Hart and Susan Mowatt. Thinking about objects and why we are drawn to make them, the show will present work by artists who paint, weave, make films and build. In Still life with flying objects liquid paint settles, takes form as a twig, shape-shifts into a piece of rope and later slips off as a snake; a tapestry keeps out the cold, hanging as a soft wall and holding collaged lumps in its weave; at home a camera pans scraping along the radiator, coming across an out of reach cobweb which reveals lost treasure. By reaching under the bed, knotting the yarn and looking through the porthole, the artworks in the show consider what the stuff we surround ourselves with is, how it is made and where it ends up.