What's Hot, What's Not

My practice is ...

HOT

My work …


– is transversal

– inhabits a transgendered space

– is post-/para-fictional

– was inspired by an artist who lived in the Amazon/Slough/Czechoslovakia/Scotland in the early 1970s …
– references both my height and the height of my bedroom ceiling when I was a teenager 

– repositions an earlier engagement with …
– is super-performative
– references Bertolt Brecht, Frédéric Chopin and Charles M. Schulz
– engages with non-human species

– is part of my socially engaged practice

– is part of my broad toolbox of activist strategies

– is kind of like beyond language
– is who I am
– is part of a collective which …

– is a collaborative practice investigating xyz potentialities

– limns the space wherein the digital erupts into sculptural objecthood

– generates a matrix of networks that refer to a circuit of references
– is about how great animals are

HOLDING STEADY

My practice …


– blurs the boundaries between

– reinscribes/encodes
– maps the terrain of the ineffable

– indexes the archival impulse

– explores the topographical limits of the necessary

– reclaims the polis/agonistic public realm

– is part of a regime of the sensible

– is a critique of Post-Fordist economy/affective labour

– offers an autonomous space of resistance
– strategically inhabits a liminal zone in which it both enacts and critiques …

– is essentially performative

– is overwhelmingly discursive 

– is deliberately opaque

– is deliberately crass

– is developed out of artistic research

– has evolved in response to the pedagogical turn

– investigates failure as a conceptual strategy
– is informed by dressage
– fumbles in the dark with the zipper of Postmodernity

– gets drunk and pukes all over the topographic modalities of the real

– is, like, really, really sorry and hopes the real will return soon

– is so busy at the moment with shows and art fairs it’s insane, but will get back to you asap about interrogating failed Utopias

NOT

My praxis … 


– is the handmaiden of Marxism-Leninism
– contemplates the void/ the sublime

– is riddled with aporia and mise-en-abyme

– concerns the potentiality of verticality

– believes that pleasure is a bourgeois tool
– reflects my self-reflexivity

– mirrors the Gaze

– is avant-garde
– is an unauthored piece of state propaganda
– interrogates gender

– is interested in simulacra

– struggles on behalf of the proletariat

– explores rhizomatic social network flows via net art

– is mired in class struggle

– believes that Theodor Adorno’s statement, ‘every work of art is an uncommitted crime’, is super-true
– relies on egg tempera
– doesn’t believe in money
– has embraced Rubens’s approach to line drawing
– is grounded in a long, skill-based apprenticeship
– woke up in the ruins of modernity but can’t remember how on earth it got there

Issue 151

First published in Issue 151

Nov - Dec 2012

Most Read

A year marked by new visualizations, both controversial and celebrated, of the black body
The Courtauld Gallery, London, UK
Openings at the new ICA, The Bass and PAMM played out against a backdrop of geographic uncanniness and atmospheric...
With the recent razing of suburban slums, tightening censorship and the sad passing of Geng Jianyi, a year of...
Nicholas Mangan, Ancient Lights (detail), 2015, two-screen installation, solar panels, batteries, projectors powered by solar energy, dimensions variable. Courtesy: the artist, Sutton Gallery, Melbourne, Hopkinson Mossman, Auckland and Labor, Mexico
At once stagnant and dynamic, politically tense and blissfully buoyant, the French capital was a strange place to be...
From victims of Hurricane Harvey to the music of Roger Waters, 2017 has been full of renewed debate around support for...
In further news: MOCA Detroit suspends Jens Hoffmann after harassment allegations; Met refuses to remove ‘suggestive’...
‘Conflicts of interest’ may have cost Beatrix Ruf her Stedelijk job but the problem doesn’t just lie with individuals...
Her work animates the consequences of our colonial history and the construction of identity politics: in a divided...
France's President Emmanuel Macron meets Burkina Faso's President Roch Marc Christian Kabore at the Presidential Palace in Burkina Faso on November 28, 2017. Courtesy: LUDOVIC MARIN/AFP/Getty Images
The French President’s recent comments hint at a dubious politics: using art restitution as a stopgap to France’s...
More from today’s Briefing: protesting Raghubir Singh; documenta artists defend exhibition (again); Enrico Castellani (...
Tiffany and Co., Sterling Silver Paper Cup, 2017, from the ‘Everyday Objects’ collection. Courtesy: Tiffany and Co., New York
Tiffany & Co.’s new range of gift objects and the shifting meaning of the ‘everyday’
From Hannah Black to Not Surprised, the changes demanded by today’s letter writers are still a long way from being...
Johan Grimonprez, Shadow World, 2016, film still. Courtesy: the artist, Sean Kelly Gallery, New York, Galerie Kamel Mennour, Paris, Flatland Gallery, Amsterdam, Ronald Reagan Presidential Library, Simi Valley, Louverture Films, Dillywood and Shadow World inc., New York
Johan Grimonprez’s recent films explore the mechanisms of the arms trade
A pivot to glass by the sculptor shows an attempt to see hope through political disillusionment
In further news: initiative for museum staff diversity; Gwangju Biennale's 2018 curators; Jens Hoffmann clarifies Front...
Ahead of Manifesta’s opening in Palermo next summer, the importance of remembering an alternative Mediterranean...
Inverting the gaze: real life biography, game play fantasy and Frantz Fanon combine in the British artist’s films
Old Food, 2017, production still. Courtesy: the artist, Galerie Isabella Bortolozzi, Berlin, Cabinet Gallery, London, Gavin Brown’s Enterprise, New York and Rome, and dépendance, Brussels
Helen Marten responds to Ed Atkins’s new work, Old Food, currently showing at Martin-Gropius-Bau, Berlin
Elsewhere: activists protest AfD with Holocaust Memorial replica; censorship at Kuala Lumpur Biennale; Venice Biennale'...
Twenty years after the First Cyberfeminist International at Documenta X, what does Cyberfeminism look like in...
Thinking about propaganda, palimpsests, and a presentation of Tino Sehgal works in Moscow
As London's Architectural Association celebrates 100 years of female students, rediscovering the city designed by women
Lin May Saeed, Lobster, 2017. Metal, 11 x 24 x 14.5 cm. Courtesy: the artist, Nicolas Krupp, Basel, Jacky Strenz, Frankfurt am Main and Lulu, Mexico City
Lulu, Mexico City, Mexico
For the 6th Amsterdam Art Weekend, our picks of the best shows and events across the Dutch capital
Highlights of the shows included in the third iteration of Dublin Gallery Weekend
An interview with Casco – Office for Art, Design and Theory, on new ways for art institutions to work
With her current show at Studio_Leigh, London, the artist shares some important images
Recent instances of censorship show an emboldened far right attacking the arts, queer identity and more: artists,...
The staggering price reached by Salvator Mundi prompts the question: what are you really buying when you buy an artwork?
Wong Kar-wai, Happy Together, 1997, film still. Courtesy: the artist and Alamy 
From the new issue of frieze: Changes in urban cultures and queer aesthetics across the Sinosphere 
On the occasion of two UK solo exhibitions, the British artist reflects on the art and events that have shaped her...

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