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Andreas Petrossiants talks to author  Ciarán Finlayson about his book, , published by Floating Opera Press in 2023. &nbsp;  In Perpetual Slavery, Ciarán Finlayson investigates the relationship of art to freedom in the work of Cameron Rowland and Ralph Lemon, who both utilize imagery of labor haunted and structured by the historical experience of slavery. Finlayson suggests that these two artists’ work overcomes the dichotomy between the recording of history and its interpretation by making both the object of artistic experience, thereby providing a space to grasp the continuing effects of slavery.&nbsp;    &nbsp;  Ciarán Finlayson is an editor from Houston, Texas. He is Senior Editor at Triple Canopy. Finlayson is on the core faculty of the Interdisciplinary Art and Theory Program in New York, and has taught aesthetics and social theory at Columbia University, New York, and the Sandberg Institute, Amsterdam, and at socialist night schools hosted by the New York City chapter of Democratic Socialists of America.

Ciarán Finlayson on Perpetual Slavery

Hallie Ayres talks to artist Heidi Lau. This episode is part of a series produced in conjunction with the 14th Shanghai Biennale at the Power Station of Art (November 2023–March 2024), curated by Anton Vidokle, Zairong Xiang, Hallie Ayres, Lukas Brasiskis, and Ben Eastham.&nbsp; ’s luminous ceramics evoke architectural ruins, funerary vessels, and mythological creatures. Channeling the artist’s personal history, the syncretic cultures of her native Macau, and the diasporic experience, Lau transforms Taoist ritual tokens of mourning and remembrance into what Kang Kang describes as “oblique monuments for an impossible ancestry.” &nbsp; Intro sound: excerpt from Carsten Nicolai (aka Alva Noto), COSMOS (Soundtrack for 14th Shanghai Biennale), 2023. 14 tracks, overall 117:30 minutes.

Cosmos Cinema conversation: Heidi Lau

Ben Eastham talks to artist Lucile Desamory. This episode is part of a series produced in conjunction with the 14th Shanghai Biennale at the Power Station of Art (November 2023–March 2024), curated by Anton Vidokle, Zairong Xiang, Hallie Ayres, Lukas Brasiskis, and Ben Eastham.   works at the frontiers of perception and cognition, with a special interest in what the Berlin-based artist refers to as the “too-much, the falsified, and spurned narratives.” The breadth of her pursuit is reflected in the diversity of her approach, which uses film, painting, embroidery, photography, and her voice. Often working in collaboration, her oeuvre extends to theatrical works, feature-length films, and a television show currently in production.

Cosmos Cinema conversation: Lucile Desamory

Hallie Ayres talks to artist . This episode is part of a series produced in conjunction with the 14th Shanghai Biennale at the Power Station of Art (November 2023–March 2024), curated by Anton Vidokle, Zairong Xiang, Hallie Ayres, Lukas Brasiskis, and Ben Eastham. Thotti works at the frontier between trance and nothingness, the image and its oblivion, motion and remembrance, cinema and its expansion. As he puts it: “South Atlantic dissolved in the world’s skies.”&nbsp; Read more about his installation for the Shanghai Biennale, (Mo) Crossing to the End and the Beginning Again, via the .

Cosmos Cinema conversation: Thotti

Hallie Ayres talks to artist Nolan Oswald Dennis. This episode is part of a series produced in conjunction with the 14th Shanghai Biennale at the Power Station of Art (November 2023–March 2024), curated by Anton Vidokle, Zairong Xiang, Hallie Ayres, Lukas Brasiskis, and Ben Eastham. In his para-disciplinary artistic practice,  explores “a Black consciousness of space”—the material and metaphysical conditions of decolonization—questioning spacetime histories through system-specific interventions, sculptures, and drawings. Black Liberation Zodiac: Khunuseti focuses on a group of stars known in isiZulu as isiLimela (in English, the Pleiades) whose appearance over the southern hemisphere horizon in June signals the beginning of the season of planting, rites of adulthood, and other cyclical transitions. As these stars appear in the southern hemisphere they simultaneously disappear in the northern hemisphere. Their path across the equator reveals a condition of common difference which echoes planetary geopolitical relations.  This work is part of the “Black Liberation Zodiac” (2017 - ∞ ) series which remaps the night sky across the ecliptic plane as a set of star charts based on the IAU celestial-coordinate system. This series replaces the hegemonic constellation system derived from Eurasian mythological history with imagery drawn from the archive of black liberation iconography. Taking cues from circumpolar and seasonal constellations which are visible exclusively in either the northern or southern hemisphere, Dennis works on the premise that there are always, at a minimum, two night skies. This series explores the poetics of a multi-celestial world through iterative installations referencing planetarium displays, science museums, and southern Afri-indigenous cosmologies.

Cosmos Cinema conversation: Nolan Oswald Dennis

Ben Eastham talks to artist Alice Wang. This episode is part of a series produced in conjunction with the 14th Shanghai Biennale at the Power Station of Art (November 2023–March 2024), curated by Anton Vidokle, Zairong Xiang, Hallie Ayres, Lukas Brasiskis, and Ben Eastham. ’s sculptural forms shine a light on the uncanny forces that shape the physical world. Using material such as fossils, meteorites, moss, and heat—ranging from leftover radiation from the Big Bang to the wax secreted by bees—her work aims to reconfigure our understanding of reality. &nbsp; &nbsp; Intro sound: excerpt from Carsten Nicolai (aka Alva Noto), COSMOS (Soundtrack for 14th Shanghai Biennale), 2023. 14 tracks, overall 117:30 minutes.

Cosmos Cinema conversation: Alice Wang

McKenzie Wark on her essay, "My Collectible Ass," published in the 85th issue of e-flux journal, October 2017.&nbsp;In conversation with journal editor Stephen Squibb. 

Read the essay: http://www.e-flux.com/journal/85/156418/my-collectible-ass/
Subscribe to the podcast via itunes: https://itunes.apple.com/us/podcast/mckenzie-wark-on-fate-art-collecting-in-digital-age/id1332021431?i=1000399156007&mt=2

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McKenzie Wark on the fate of art collecting in the digital age

Vivian Ziherl&nbsp;discusses her curatorial platform Frontier Imaginaries&nbsp;on the occasion of&nbsp;TOXIC ASSETS: Frontier Imaginaries Ed.No3&nbsp;at e-flux, Columbia University, and UnionDocs in October 2017. In conversation with journal editor Brian Kuan Wood. 

Watch day one of TOXIC ASSETS on e-flux film & video: http://www.e-flux.com/video/167822/toxic-assets-nbsp-frontier-imaginaries-ed-no3-at-e-flux-and-columbia-university-day-1/
"The Fourfold Articulation" in e-flux journal #81, April 2017: http://www.e-flux.com/journal/81/126968/the-fourfold-articulation/
Subscribe via itunes: https://itunes.apple.com/us/podcast/vivian-ziherl-on-frontier-imaginaries-toxic-assets/id1332021431?i=1000399960426&mt=2

Vivian Ziherl on Frontier Imaginaries, Toxic Assets, and The Fourfold Articulation

Elizabeth A. Povinelli discusses four axioms of critical theory in response to her presentation, "Toxic Assets the the Extimacy of Existence," from Frontier Imaginaries Ed.No3 at e-flux. In conversation with journal editor Stephen Squibb. 

Read Elizabeth A. Povinelli in e-flux journal (http://www.e-flux.com/journal/): 

"Geontologies: The Concept and Its Territories" from issue 81, April 2017
"Geontologies: The Figures and the Tactics" from issue 78, December 2016

Elizabeth A. Povinelli on the four axioms of critical theory

e-flux founder, journal editor, and artist Anton Vidokle discusses cosmism with Kaye Cain-Nielsen, editor-in-chief of e-flux journal. You can read more on cosmism in the 88th issue of e-flux journal&nbsp;(February 2018).&nbsp;Featuring texts by Robert Bird, Maria Chehonadskih, Keti Chukhrov, Boris Groys, Trevor Paglen, Alexei Penzin, Marina Simakova, Arseny Zhilyaev, and a Timeline of Russian Cosmism compiled by Anastasia Gacheva, Arseny Zhilyaev, and Anton Vidokle.&nbsp;

Immortality for all: Anton Vidokle on cosmism

Zach Blas in conversation with Laurel Ptak, Art in General's Executive Director &amp; Curator, on the occasion of Blas's exhibition&nbsp;Contra-Internet&nbsp;at Art in General and his lecture-performance&nbsp;Metric Mysticism&nbsp;at e-flux. 

Zach Blas&nbsp;is an artist and writer whose practice confronts technologies of capture, security, and control. Currently, he is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. His recent works respond to biometric governmentality and network hegemony. 

Read more about the exhibition, on view through April 21, 2018, at http://www.artingeneral.org/exhibitions/650

Read Zach Blas' essay in e-flux journal #74 (June 2016): "Contra-Internet" http://www.e-flux.com/journal/74/59816/contra-internet/

Contra-Internet with Zach Blas and Laurel Ptak

David Kim and Yazan Khalili discuss Yazan's video,  Hiding Our Faces Like a Dancing Wind,&nbsp;currently on view in the exhibition Being: New Photography 2018&nbsp;at MoMA through August 19, 2018. "How do we disappear in the digital age? This is a project that works with the facial recognition technologies in smart devices and its historical background in the colonial practices." 

A segment of the video can be watched here: http://www.yazankhalili.com/index.php/project/hiding-our-faces-like-a-dancing-wind/. 

You can find an additional conversation on the impossible legality of an artwork between David Kim, Yazan Khalili, Elizabeth A. Povinelli, Jonathan Beller, and Vivian Ziherl in  e-flux journal #90. http://www.e-flux.com/journal/90/191401/i-the-artwork-a-conversation-with-yazan-khalili/

David Kim is a graduate of Yale Law School, at which he was the curator of JUNCTURE: Explorations in Art and Human Rights, an initiative sponsored by the Schell Center for International Human Rights. Kim is currently a principal at the management consultancy Incandescent. He also collaborates with curators and artists on projects in connection with property, contracts, finance, and human rights. 

Yazan Khalili lives and works in and out of Palestine. He is an architect, visual artist, and a cultural activist. Khalili has woven together parallel stories over the years, forming both questions and paradoxes concerning scenery and the act of gazing, all of which are refracted through the prism of intimate politics and alienating poetics. He is the director of the Khalil Sakakini Cultural Center in Ramallah. &nbsp;

David Kim and Yazan Khalili on Hiding Our Faces Like a Dancing Wind

Conversations with some of the most engaged artists and thinkers working today.

e-flux is a publishing platform and archive, artist project, curatorial platform, and enterprise which was founded in 1998. Its news digest, events, exhibitions, schools, journal, books, and the art projects produced and/or disseminated by e-flux describe strains of critical discourse surrounding contemporary art, culture, and theory internationally. Its monthly publication e-flux journal has produced essays commissioned since 2008 about cultural, political, and structural paradigms that inform contemporary artistic production.

David Kim and Yazan Khalili on Hiding Our Faces Like a Dancing Wind

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