e-flux podcast

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

Subscribe

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

Artists and filmmakers Peggy Ahwesh and Adam Khalil in conversation. 

Peggy Ahwesh has produced a range of work since the 1980s challenging traditional forms of film and video, and investigating cultural identity and the role of the subject. 

Adam Shingwak Khalil (Ojibway)'s practice attempts to subvert traditional forms of ethnography through humor, relation, and transgression. Adam and Zack Khalil’s debut film INAATE/SE/ [it shines a certain way. to a certain place/it flies. falls./] was released in 2016.

https://itunes.apple.com/us/podcast/e-flux-podcast/id1332021431?mt=2&i=1000404372854

Peggy Ahwesh and Adam Khalil: "time-bombs showing the fault lines of history"

Dena Yago discusses her essay "Content Industrial Complex,"&nbsp;published in e-flux journal issue 89 (March 2018), with editor-in-chief Kaye Cain-Nielsen.  "What is an artist to do? With an understanding of how our content, identities, and influence are valuable to and instrumentalized by brands and marketers, we can find space for resistance and refusal, or we can actively engage with existing models in an effort to ameliorate them."  Dena Yago is an artist who was born in 1988. She has had numerous gallery and museum exhibitions, including at the Museum of Modern Art in Warsaw and at Bodega in New York.

http://www.e-flux.com/journal/89/181611/content-industrial-complex/

Dena Yago on the "Content Industrial Complex"

Artist Keren Cytter (http://kerencytter.com/) discusses past and future projects on the occasion of the premiere (http://www.e-flux.com/program/180226/film-screening-keren-cytter-nbsp-middle-of-beyond-in-conversation-with-jen-liu-and-kathy-noble/) of her film Middle of Beyond at e-flux. In conversation with Josh Altman. 

Middle of Beyond blends fiction, news clips, and animation recounting ten days in the life of Malte Krumm, a month after the latest US elections. The film depicts the numbness of a world flooded by information and social media activity, where the borders between reality and illusion are crumbling and narcissism and self-promotion overshadow moral values. Based on a true story.

Middle of Beyond with Keren Cytter

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

Cooking Sections (Daniel Fernández Pascual and Alon Schwabe) on the occasion of the launch of their book  The Empire Remains Shop&nbsp;at e-flux. In conversation with e-flux journal Art Director and artist Mariana Silva. 

"Empire shops" were first developed in London in the 1920s to teach the British to consume foodstuffs from the colonies and overseas territories. Although none of the stores ever opened, they were intended to make previously unfamiliar produce and products—sultanas from Australia, oranges from Palestine, cloves from Zanzibar, and rum from Jamaica—available in the British Isles. The Empire Remains Shop speculates on the possibility and implications of selling the remains of the British Empire in London today. 

Cooking Sections (Daniel Fernández Pascual and Alon Schwabe) is a duo of spatial practitioners based out of London. It was born to explore the systems that organize the WORLD through FOOD. Using installation, performance, mapping, and video, their research-based practice explores the overlapping boundaries between visual arts, architecture, and geopolitics. Cooking Sections was part of the exhibition at the U.S. Pavilion, 2014 Venice Architecture Biennale. Their work has also been exhibited at Performa17; 13th Sharjah Biennial; Neue Nationalgalerie Berlin; Storefront for Art &amp; Architecture New York; dOCUMENTA(13); CA2M, Madrid; The New Institute, Rotterdam; UTS, Sydney; HKW Berlin; Akademie der Künste, Berlin; among others, and have been residents in The Politics of Food at Delfina Foundation, London, and Headlands Center for the Arts. The duo were part of the 2016 Oslo Architecture Triennale and 2016 Brussels ParckDesign. Their work has been featured in a number of international publications (Lars Müller, Sternberg Press, Volume, and Frieze Magazine). The Empire Remains Shop is published by Columbia Books on Architecture and the City–Columbia University Press. They currently lead a studio unit at the RCA, London.

Subscribe to the podcast: https://itunes.apple.com/us/podcast/e-flux-podcast/id1332021431?mt=2
Cooking Sections: http://www.cooking-sections.com/
Book launch at e-flux: http://www.e-flux.com/program/191173/book-launch-cooking-sections-nbsp-the-empire-remains-shop-with-cooking-sections-coco-fusco-and-natasha-ginwala/

Cooking Sections on how food infrastructures shape the world

Journalist and author Masha Gessen discusses ways of surviving an autocracy. Rule #1? Believe the autocrat.

For this week’s episode of the e-flux podcast, we are featuring Masha Gessen’s lecture, "How We Survive an Autocracy," originally given on May 24, 2017 as part of an ongoing e-flux lectures series dedicated to discovering the protocols of twenty-first century truth, assuming that these still exist.

Launched in February 2017, most e-flux lectures are live streamed on e-flux.com/live and archived at e-flux.com/video/.

Masha Gessen is a journalist and author, whose most recent book, "The Future Is History: How Totalitarianism Reclaimed Russia," won the 2017 National Book Award for Nonfiction. Gessen is also the author of the national bestseller "The Man Without a Face: The Unlikely Rise of Vladimir Putin" (2012). Gessen is a staff writer at The New Yorker.

Masha Gessen on how to survive an autocracy

Eva Díaz discusses her essay "We Are All Aliens"&nbsp;published in&nbsp;e-flux journal&nbsp;issue&nbsp;91 (May 2018) with contributing editor Elvia Wilk. 

"For some, contemporary art has become a kind of alt-science platform for research and development projects that offer alternatives to the corporate control and surveillance of outer space. Artists working on issues about access to space are at the front line of a critical investigation about the contours of the future, both in its material form and social organization. Many of these artists are challenging the current expansion of capitalist and colonial practices into outer space, particularly that of so-called 'primitive' accumulation: the taking of land and resources for private use. They recognize that much of the tremendous capital amassed in the early 2000s e-commerce and tech boom is now being funneled into astronomically costly 'New Space' projects such as SpaceX, a company funded by PayPal cofounder Elon Musk, and Blue Origin, the space enterprise of Amazon's Jeff Bezos." –Excerpt from "We Are All Aliens"  

Eva Díaz has taught at the Pratt Institute in New York since 2009. Her book The Experimenters: Chance and Design at Black Mountain College was released in 2015 by the University of Chicago Press. She is currently at work on a new book titled After Spaceship Earth, analyzing the influence of R. Buckminster Fuller in contemporary art.

Read "We Are All Aliens" https://www.e-flux.com/journal/91/197883/we-are-all-aliens/

Eva Díaz: "We Are All Aliens"

Mirene Arsanios discusses her text, "E Autobiography di un Idioma," published in e-flux journal #92—"on feminisms" (Summer 2018). In conversation with editor-in-chief Kaye Cain-Nielsen. 

"I would have liked to come to you (abo) with something more reliable, like documents (akto), but I’m an oral language (idioma)—an Afro-Portuguese proto-creole developed on the western coast (kosta) of Africa and brought over to the Caribbean in the seventeen century. That’s one of the theories of my genesis. There are others (otronan). Dutch and Spanish tagged along at later stages, with a few Arawak words (palabranan). Initially, slave traders and slaves used me to 'communicate'; then I was just used (merka). The only document in my possession says I was born on the island of Curaçao, north of the Venezuelan shore. Linguists struggle to match my identity to a location. Words travel and land in places (luganan) that do not match their jurisdiction (a nation (nashon)-state)."
—Mirene Arsanios, "E Autobiography di un Idioma"

Other works mentioned:
—Iman Mersal, الصوت في غير مكانه (The Displaced Voice); trans. Lisa White (New York: Belladonna* Collaborative, chaplet #232, 2018). Excerpt read by Belladonna editor Ana Paula.—Iman Mersal, "عن الأمومة والعنف، إيمان مرسال (On Motherhood and Violence)," trans. Anna Ziajka Stanton, Makhzin issue #2
—FEMINISMS (Daisy Atterbury, Tarek El-Ariss and Mirene Arsanios, editors)
—Jamaica Kincaid, The Autobiography of My Mother (New York: Macmillan, 1996). &nbsp; 

Mirene Arsanios is the author of the short story collection The City Outside the Sentence (2015). She has contributed essays and short stories to Vida, The Brooklyn Rail, The Rumpus, The Animated Reader, and The Outpost, among others. Arsanios cofounded the collective 98weeks Research Project in Beirut and is the founding editor of Makhzin, a bilingual English/Arabic magazine for innovative writing. On Friday nights, you can find her at the Poetry Project in New York, where she coordinates the Friday Night reading series with Rachel Valinsky.

Mirene Arsanios on mother tongues

Mary Walling Blackburn discusses her text, "Sticky Notes, 1-3," published in e-flux journal #92—"on feminisms" (Summer 2018), with editor-in-chief Kaye Cain-Nielsen.  Read the text here: https://www.e-flux.com/journal/92/203204/sticky-notes-1-3/

"The video editing suite sat directly across from 1607 Broadway. My mother’s boyfriend was editing a sequence of two figures fighting with long sticks. They were aiming for one another’s heads. Each man, in turn, carefully swung his fragile skull away from a baton, and then a baton toward another fragile skull swinging away. To the right of the screen was a window. From a certain low angle, at a standing vantage point several feet from the sill, the video sequence and a spectacular outside the glass read as an operative split screen." 
Excerpt from "Sticky Notes, 1-3" 

*Note from Mary: I should be very clear that when referring to dignity I am speaking about "white dignity"; I am trying to communicate that&nbsp;white dignity&nbsp;is bunk and&nbsp;wealthy dignity&nbsp;is bunk. Moreover, when I state that I don't know why 'anyone gets to keep their things with our status'...anyone, again means myself (who qualifies as the privileged poor) and those who operate in wealth within this amplified structure of riches. &nbsp; 

Mary Walling Blackburn was born in Orange, California. Walling Blackburn's artistic work engages a wide spectrum of materials that probe and intensify the historic, ecological, and class-born brutalities of North American life. Recent publications include Quaestiones Perversas (Pioneer Works, Brooklyn, 2017), co-written with Beatriz E. Balanta; "Gina and the Stars," published by Tamawuj, an off-site publishing platform for the Sharjah Biennial 13; and "Slowness," a performance text in the sound-based web publication Ear│ Wave│Event.&nbsp;

Mary Walling Blackburn on "Sticky Notes"

Julieta Aranda and Liam Gillick join Lawrence Weiner in his New York studio for a conversation spanning art education and cosmetic dentistry. 

Julieta Aranda is an artist and Editor of e-flux journal.&nbsp; 

Liam Gillick is an artist living in New York. Read Liam Gillick in e-flux journal: https://www.e-flux.com/journal/?q=person_69220

Lawrence Weiner is an artist born in 1942 in New York, NY, where he lives and works today.

Lawrence Weiner, Julieta Aranda, and Liam Gillick in conversation

Simone White and Judah Rubin discuss White’s recent text, “or, on being the other woman,” published in e-flux journal issue #92 on feminisms. The conversation followed a recent duo lecture at e-flux with Mirene Arsanios and Simone White. 

Simone White's most recent book is "Dear Angel of Death," published in spring 2018. She lives in Brooklyn and teaches at the University of Pennsylvania. 

Judah Rubin is a poet living in Queens. He is the former Monday night coordinator at the Poetry Project and is currently working on texts concerning necropolitics, corruption, and all-you-can-eat buffets.

Simone White discusses “or, on being the other woman”

Following a symposium titled  Technology is History (https://www.e-flux.com/announcements/214106/symposium-technology-is-history/), in association with the exhibition "One Hand Clapping" at the Guggenheim, curator Xiaoyu Weng and Brian Kuan Wood join Yuk Hui to discuss his work. 

The conversation was followed by a talk by Yuk Hui at e-flux titled “What Begins After the End of Enlightenment?” https://www.e-flux.com/program/218683/e-flux-lectures-yuk-hui-what-begins-after-the-end-of-enlightenment/

Text mentioned in the conversation:  "30 Years after Les Immatériaux - Art, Science and Theory" (https://meson.press/books/30-years-after-les-immateriaux/).&nbsp; 

Yuk Hui is a philosopher based in Berlin. He is the author of three monographs: "On the Existence of Digital Objects" (University of Minnesota Press, 2016), "The Question Concerning Technology in China: An Essay in Cosmotechnics" (Urbanomic, 2016), and "Recursivity and Contingency" (Rowman and Littlefield International, Spring 2019).  Read Yuk Hui in e-flux journal: https://www.e-flux.com/journal/?q=person_82704.

Xiaoyu Weng is The Robert H. N. Ho Family Foundation Associate Curator of Chinese Art at the Guggenheim. &nbsp; 

Brian Kuan Wood is a founding editor of e-flux journal.

Yuk Hui, Xiaoyu Weng, and Brian Kuan Wood

In this week's episode of the e-flux podcast, Brian Kuan Wood reads his piece, "The Story of Peter Green Peter Chang," published in February, 2017 as part of e-flux Architecture's Superhumanity project at the 3rd Istanbul Design Biennial. Brian Kuan Wood is a writer and an editor of e-flux journal.

The Story of Peter Green Peter Chang

Recorded after the publication of e-flux journal issue 81 in April 2017, Xin Wang reads and discusses her text “Asian Futurism and the Non-Other” with Stephen Squibb. 

Xin Wang is a curator and art historian based in New York. She recently participated in e-flux journal’s feminism(s) double issue launch with Martha Rosler, McKenzie Wark, and Elvia Wilk. Past curatorial projects include Lu Yang: Arcade (2014, New York), THE BANK SHOW: Vive le Capital and THE BANK SHOW: Hito Steyerl (2015, Shanghai), chin(A)frica: an interface (2017, New York), and Life and Dreams: Photography and Media Art in China since the 1990s (2018, Ulm, Germany). Wang is currently building a discursive archive of Asian Futurisms at afuturism.tumblr.com, and is a PhD candidate in modern and contemporary art at NYU’s Institute of Fine Arts. 

Read “Asian Futurism and the Non-Other”:  https://www.e-flux.com/journal/81/126662/asian-futurism-and-the-non-other/

Xin Wang on “Asian Futurism and the Non-Other”

e-flux journal editors Julieta Aranda, Brian Kuan Wood, Anton Vidokle, and Kaye Cain-Nielsen discuss 10 years of e-flux journal. 

Excerpt from the editorial of&nbsp;e-flux journal issue #95—WONDERFLUX:  

In November 2008, the editorial for issue #00 said:  Historically, more than any single institution, art publications have been primary sites for discourse surrounding the artistic field. And yet most recently, the discourse has seemingly moved elsewhere—away from the formal vocabulary used to explain art production, away from traditional art capitals, and away from the printed page. At times, new discursive practices even replace traditional forms of art production. Given the current climate of disciplinary reconfiguration and geographic dispersal, it has become apparent that the urgent task has now become to engage the new intellectual territories in a way that can revitalize the critical vocabulary of contemporary art. We see a fresh approach to the function of an art journal to be perhaps the most productive way of doing this.  With this first, inaugural issue of&nbsp;e-flux journal, we begin something of an experiment in developing both a discursive space and a site for actual art production, in which writers, artists, and thinkers are invited to write on topics of their choosing.  Reading this again ten years on makes us feel grateful for all the brilliant contributors and readers who have shaped the journal over the years.&nbsp;e-flux journal&nbsp;#95 marks a full decade into this strange experiment in contemporary art publishing.  For our tenth birthday, a small group of longtime contributors have written short texts, which artists have illustrated and set to graphic format. Since 2008, the authors included here have continued to shape varied concerns and urgencies into certain consistencies and overarching emergent issues. 

We hope you’ll enjoy issue #95:&nbsp;WONDERFLUX.  

Stay tuned for events we’re organizing in 2019 to mark the start of the next decade of&nbsp;e-flux journal.

10 years of e-flux journal (part 1/2)

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.