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“Guillaume Simoneau is a not a cannibal, but his book Murder (MACK), is an ode to Fukase’s legendary status and particularly his book Karasu/Ravens. Murder is a devotional hymn, or a phantom limb added to the mythology of the Japanese artist” Inherent or Mythological Propagandas One of photography’s less considered functions is […]
Editor’s Note, This interview was conducted over the period of months. Federico and I would ping pong ideas back and forth. Being a busy artist, Clavarino had already moved into several different territories from my principal point of trying to tackle Hereafter, his great opus about power, family, archive and how history is activated […]
“In very broad terms, it seems that the work made in the West during the 20th century portrays a prolonged event – a disaster, you could say – that unfolded as modernity overtook the landscape and ideologies were instilled in American culture”.
“With cinema, the moment, the ever-many moments included in its orchestration (non-news, non-documentary) force inquiry as to the pathos of its production and in doing so enables the viewer to consider the film in terms of fantasy, memory, time and delivery”.
“Photographs make up the vast majority of how we consider the narrative of California in the late 60’s and early 70’s and Dennis Stock’s California Trip exemplifies the condition for how we examine our historical memory and consciousness of the period”.
“Self-apathy, self-torment, and a penchant for observations oscillating between peaks and troughs of life’s banes and boons-or what my friend Jeffrey Silverthorne once described as “Swedish grain syndrome”. “The photograph is for nothing”. Truer words are yet to be spoken. Another in a series of Constant Effigies and notorious negations. A child […]
“Man has understood his place in the cosmogony of things by deliberating over his mortality. In fear, we build a language before we build a language from love. We leave warnings before love letters…”. Robert Fludd (1574-1637), in his assertion that the world is first born of chaos, then divination by light, spirit […]
The opposing impulses of creation and destruction mark the touchstone of the Hungarian-born, New York-based artist Rita Ackermann’s practice, which continues to evolve and manifest itself in the shift from representation to abstraction.
“I was raised alongside the internet, so there was never an othering effect from the introduction to newer technologies, especially the internet.”
“There’s something unnatural and coercive about the idea of ‘making memories’. Surely memories can’t simply be fabricated at will? Forming a memory is something more organic, more random, and it’s all the more precious for this unpredictability.”
“My initial desire to make this work was my connection and fascination with the language. A language that has existed in my family for hundreds of years but that I do not speak”.
The digital image is an image file. It has no form and is invisible until it gets interpreted and transformed by software or the internet user. In the process of being made visible it is staged or performed.