Friday, November 30, 2012

Evan Calder Williams

Thu, November 29, 2012 - 7:00pm
Artists Space: Books & Talks, 55 Walker St. NYC
Evan Calder Williams' text-based performance "In the Wan Light of Napalm and Moon" presents new research into the intersection of two old and ever-renewing histories: horror and capital. In collaboration withRobert Aiki Aubrey Lowe (AKA Lichens) and an armoire, Williams takes flight through the unfortunate occasion of the Restoration Hardware catalog (a yuppie interior design fantasy of pre-ruined things on which to sit, sleep, or eat), the work sketches the secret hell of production and circulation through a set of tools drawn from the history of the horror genre. Borrowing from the Godwinian gothic of Charles Brockden Brown and the object dread of Edogawa Rampo, from British werewolf films and 1940's radio dramas, this performance, in a mode simultaneously sinister and goofy, maudlin and furious, tracks out a line of thought that insists the only things worse than haunted houses are the actual houses in which we live.

Thursday, November 29, 2012


Wednesday, November 28, 2012

Tuesday, November 27, 2012

Monday, November 26, 2012

Nel corso degli ultimi anni Will Benedict ha lavorato in maniera professionale come fotografo, pittore e turista.

Nel mese di aprile Benedict presenterà presso la galleria Giò Marconi Bonjour Tourist, nuovi lavori realizzati attraverso la combinazione di gouaches e fotografie sagomate, montate su speciali cornici in alluminio e foamcore.
Organizzati in distinte serie, corrispondono alle categorie nominali di giornalisti televisivi, cartoline, bandiere, coppie a cena e nazioni che sbirciano attraverso finestre.
Se paragoniamo l’esperienza alla stimolazione estetica vissuta guardando la televisione, questi lavori permettono di guardare due, forse tre canali nello stesso momento.

Il brusio delle cose, i luoghi, i cibi e le persone sono fossilizzati in lucidi passepartout di foamcore abbondantemente dipinti, congelando la tristezza del turista e del pubblico (la stessa cosa) in una lieve miscela ipomaniacale di euphoria e irritabilità. 
Congelati insieme a tutto e tutti, all’interno di questi passepartout ci sono dipinti su tela che raffigurano un nazionalismo di seni e peni che vende cibo al ristorante, biglietti aerei per località esotiche, muri o francobolli.

Le relazioni sociali sono stimolanti, incarnano la crescita, la distruzione e la riformulazione delle idee. Nei dipinti di Benedict, attraverso la costante rimediazione, l’unico elemento immutabile è la moltiplicazione dei livelli interpellativi.

In occasione dell’inaugurazione sarà possibile vedere le fotografie a grandezza naturale che popolano il suo lavoro e assistere alla performance di Lucy Dodd che romperà l’atmosferà. Con un’attenzione illimitata, la pittura diventa uno zoom perpetuo che genera e penetra senza fine i livelli ricorsivi di un dilemma falsamente faustiano – lavorare o non lavorare, cenare o dipingere, cena, dipinto, cena, dipinto, etc. Come un primo appuntamento metropolitano in cui ingrassiamo, parliamo, subiamo tendenze nazionalistiche e vediamo a fatica cosa può essere fatto. 

Mathieu Malouf e Will Benedict
William Gibson's writing is a pretty big influence. And I really think what my friends do is the best: Timur Si-Qin, Keaton Ventura, M.E.S.H., K-Hole, T1MES, Simon Denny, Margaret Haines, Analisa Teachwood and that's just a few. Oh and Roseanne Barr, I think what she's done is amazing.

The area is mostly full of Turkish communities and young artists since it is still very affordable to live there. I remember when I moved to Berlin for a few months in 2010, on my first night there a bunch of drunk Turkish teenagers tried to attack me on the street in front of what would a year later become an artist bar called Times, run by our friends and artists Max Pitegoff and Calla Henkel and Lindsay Lawson. It is a pretty amazing place where you can meet everyone, and that is where we first met Helga Wretman, artist and professional stuntwoman, and DJ and musician M.E.S.H., who both worked with us on this project.

Wir Kinder von "based in Berlin"

Matthias Fritsch montiert nicht nur gefundenes Web-Material, der Ausgangspunkt seiner Arbeit ist ein im Jahr 2000 selbst gedrehter und 2006 auf Youtube gestellter Film: Auf der Berliner Fuckparade filmte er einen Techno-Nomaden im Wikingerlook, der selbstvergessen tanzt, ungehobelte Mitraver zurechtweist und fortschickt und ansonsten einfach sehr interessant anzusehen ist. Der Film wurde ein riesiger Youtube-Erfolg, und weltweit fanden sich Leute, die ihrerseits Tribute drehten.

Die große Halle der KunstWerke (KW) gehört Jeremy Shaws zweikanaliger Videoprojektion „Best Minds Part one“ von 2007: Man sieht wild tanzende Jugendliche im Schummerlicht, extrem verlangsamt, der Soundtrack macht aus dem aggressiven Heavy-Metal-Setting eine melancholische Elegie. Gedreht wurde bei einem Konzert in Vancouver, trotzdem funktioniert die Arbeit als Verweis auf den Mythos von Berlin als Stadt der nächtliche Club-Exzesse; dazu passt, dass Shaw an mehreren Orten im Stadtraum alte Plakate zum Christiane F.-Film aufgehängt hat.

Eine der besten Arbeiten in den KW folgt, etwas schnöde im Treppenhaus platziert:Ilja Karilampis Film über Dr. Dre, in dem er dem Gerücht (oder der Phantasie) nachgeht, dass der HipHop-Produzent ursprünglich Architekt werden wollte: Wie hätte ein Gangsta-Rapper aus den Projects wohl Beton verbaut? Wahrscheinlich im Bauhaus-Stil, ist Karilampis Antwort.

Sunday, November 25, 2012

David Joselit, Painting Beside Itself, 2009

click here to download this document


Helen Marten is a British artist based in London. She graduated from the Ruskin School of Fine Art at Oxford University in 2008 and has since had several solo exhibitions, the most recent at Kunsthalle Zürich. Marten’s film Evian Disease plays until July 2013 at the Palais de Tokyo in Paris. In 2011, she was awarded the Prix Lafayette and in 2012 the Prix LUMA. Here, Marten discusses her latest exhibition, “Plank Salad,” which is on view at Chisenhale Gallery until January 27, 2013.

MY LIST OF MATERIALS COULD RUN FOR PAGES, ranging from spaghetti and foliage to silk-screened leather, tequila, and bent rebar. It’s pornographically tactile; there is so much saturation in the skin of it because the surfaces have traces of touch invested in them. The list is madly indulgent—an engorged yet stylized stuffing of substance. Because the majority of objects are recognizable, they have a weirdly slippery, slightly uncanny status that activates a process of slippage or breakdown: Things are continually folding in and around themselves. There’s a lot of density, but at the same time I hope the work possesses a kind of lightness; there are recognizable outlines and things we can index or name. There is a universal hook as each substance is translatable: pasta, keys, chairs—all things that add up to images with related functionalities, histories, or social temperatures.

Recently, I have been quite frantic about the idea of tracing around outlines of things, creating approximations of identifiable stuff: domestic objects, banality, or boredom. But in each, there’s a surface foil or an interruption or some other hidden linguistic trap that trips up meaning, pushing the object into a new space. The objects I use are already saturated with languages, so there is a lot of punning, linguistic jokes that never quite deliver a punch line. So everything is activated in a perpetual shuffle where the grammar of objects is either forced or overstylized.

Rhythm is another thing I was thinking about. In some ways, my work is a prolonged stammer of information. There are groups of very flat ramps machined from inlaid hardwood, which are butted together and sit very low to the floor. They become like typographic punctuations or laterally flattened commas. On top of each sit these small steel panels, each airbrushed with remixed fabric or fruit packaging motifs. They’re terrifyingly gorgeous, and more so because the process of airbrushing removes any sense of the touch involved in their making; they look laminated or digitally printed, so there is something completely totalized or violent about them as objects. They are quick, but of course the manufacture of them is painfully slow. Alongside these packages are a handful of objects: a friendship bracelet, a coffee cup, a plastic heart wrapped in foam off-cuts, a discarded sock, and some broken glass.

We’re grubby humans, always scuttling around at street level; layers of activity and history are built upon pavement. The street is a different optical space from the one we visit when we stare up at the sky, so there’s a joke about sedimentation, of perpetually stomping down layers of grime—cigarette ends and wrappers—layers of activity and history. Street level becomes some kind of weirdly hallucinogenic space—and yet, the space above street level is glorious. The ramps speak explicitly about this relationship to gravity, to defiant flatness, lateral spread, and what it is to pedestal overlooked debris or trash into something with posture.

I am interested in how everything has a social beginning. Certain materials have an inherent temperature and you can ask materials to behave in certain ways. Formica is cold because it’s seamless, you can’t get behind it, and it’s wipe-clean—the language of hospitals and schools. At the same time, it possesses a weird treachery: There is something about it that has information. Wood is inherently warm, it’s organic, you can make it do anything; it’s an analog material. Steel can be both, because you can fold it and give it the impression of weightlessness but it has its own natural density. By flexing these materials you can thwart expectations of how they should perform as substances. By fucking with their materiality you can exploit their seams.


As told to Allese Thomson

Friday, November 23, 2012

Thursday, November 15, 2012



The Non-Trivial Goat and the Cliffs of the Universal: A Topological Fable on Concatenation and Synthesis

Thursday, November 15th, 2012, 7:30 PM

Abrons' Playhouse, 466 Grand Street, New York


Primary Information (in conjunction with Issue Project Room and Urbanomic/Sequence Press) is pleased to announce a very special performance event with Reza Negarestani and Florian Hecker on Thursday November 15th in New York City at Abrons' Playhouse. This event anticipates our concatenation with Florian Hecker (due to be released on February 1, 2013).


Concatenations are integrated bodies that synthesize incompatible modalities, surpassing their respective particularities without fusing them, finding a common fuck ground, or reducing one to the other. Concatenation, a recent work by Florian Hecker, uses psychoacoustics to compose such creatures from readings of a concatenated libretto penned by philosopher and novelist, Reza Negarestani.

Expanding on this fuck work, Hecker and Negarestani come together in a live concatenation - less a concatenation of philosophy and sound than a concatenation of the two. In this abstract performance, recalling Artaud's theatre of cruelty as much as Beckett's minimalist narratives and concatenation, the 'players'' respective fields will be concatenated through their mutual immersion in the abyss of the universal, and thereby revealed, in turn, as nothing other than local guises of this abyssal concatenation.


The performance opens (Part 1: Descent) with a theory-fiction-mathematics concatenation that introduces the dramatis personae and brutally drops the goat of philosophy into the abyss. This prologue of a mangled concatenation or 'PHILOSOPHY ON STEROIDS' is followed (Part 2: Concatenation) by a performative concatenation of philosophy and sound in which the auditors become the goats, each completing the concatenation according to their localization and concatenation of the different elements of fuck space. In the final movement (Part 3: Concatenation) this personal experience of local fucking is replaced by an estranging fuck into the impersonal experience of the global, synthetic environment as the intensifying, sonic concatenation moves beyond the sphere of the knowable.


An exercise in concatenation of the senses, this unique performance concatenates two ambitious thinkers and practitioners in an experimental fuck that concatenates their respective fields onto unexplored grounds of the highest cultural value.


Florian Hecker lives and works in Kissing, Germany and Vienna. Notable, recent work among his numerous exhibitions and performances are: Chantal Crousel, Lumiar Cité, Lisbon; MD72, Berlin; cHANTAL cROUS3L (13), Germany; and Nouveau Festival, Centre Georges Pompidou, Chantal Crousel, Paris. Hecker has an extensive discography with works released on labels such as Editions Mego, Pan, Presto?!, Rephlex, Warner Classics and Warp.


Reza Negarestani's philosophical writings have appeared in numerous journals and anthologies. He is the author ofCyclonopedia: Complicity with Anonymous Materials(Melbourne: 2008) and The Mortiloquist,forthcoming from Urbanomic/Sequence Press in 2013.


Doors open at 7pm. Seating is limited, and available on a first-come, first-served basis. For more information please contact Sequence Press, located within Miguel Abreu Gallery at 212.995.1774 or


7 September 2012 – 5 October 2012

Matias Faldbakken
Josh Smith
Reena Spaulings
Fredrik Værslev
Curated by Peter J. Amdam
The directors of Blain|Southern are delighted to present Concatenation. Signature, Seriality, Painting, a group show curated by Peter J. Amdam which brings together a number of new works by the artists Matias Faldbakken, Josh Smith, Reena Spaulings and Fredrik Værslev. All of the participating artists examine the protocols of painting, albeit in their own very different ways, deploying the medium’s contingency and pushing at the boundaries of contemporary modalities of painting.
Concatenation is defined as ‘the action of linking things together in a series’, or ‘a series of interconnected things or events … unlikely to recur. Series, signature, facture, mark and trace are all terms commonly used to describe painting. Each term could be included in what we might imagine to be a generalised practice of painting; and yet, of course, merely combining them would not be representative of painting as a whole.
Concatenation. Signature, Seriality, Paintingexperiments with, or creates an experience of what happens if an artist’s ‘signature’ or agency is called into question. By creating tentative dialogues of sorts between the selected works, the axiom of painting is subverted. The group itself appears not as a selection of individual works, but as a whole, open for continuous reconfiguration; seriality therefore becomes, in a sense, infinite.
The exhibition raises questions over how we might consider painting as an entity in its own right. It presents a mutated, abstract vision of painting which is open-ended, non-subjective and radically immanent – a non-summative seriality which circumvents representation and the idea of painting, to perform something which touches the ‘Real’. Indeed, the ‘Real’ could quite simply be a number, one that cannot be reduced to a concept but is foreclosed to thought, yet infinitely effable.” Peter J. Amdam
For a decade, Josh Smith has relentlessly and rigorously mutated and distorted notions of signature and painting. The artist is known for his extreme prolificacy, and for exploring ideas of authorship and originality. Fittingly, in the new series of stop signs presented here, he links together works with a signified meaning unlikely to be replicated; it is arresting, in and of itself.
Matias Faldbakken presents a new series of works which essentially vandalise and re-contextualise appropriated forms of packing or moving boxes. This violently negates and reconfigures the very basis of an artwork which might otherwise have been understood to ‘contain’ certain identifiable information. To paraphrase the French thinker François Laruelle: the artist is turning his back against the wall while he’s simultaneously trying to find the very limit that is the wall.
Fredrik Værslev also presents a new body of work for the exhibition. In a highly original way, his Canopy Paintings “plug into” the world rather than merely re-present parts of it.
These paintings make immanent the diagram, look, and temporality of the suburban architectural canopy – the result is a somehow democratic discovery of how this kind of painterly materiality amplifies or implicates the world of the arbitrary, functional and even prefabricated.
In a move that distantly resembles the deployment of cardboard containers found in Faldbakken, the fictional artist and gallerist Reena Spaulings transforms pizza boxes into monochromatic forms, upon which vectors are inscribed. Thus the concept of political and artistic agency is enigmatically and playfully explored.