Daniel Shea: A Purpose-Built Citadel of Economic Despair
“What do the citadels of disaster capitalism tell us about our New World Reich-The Trump Tower, but also the Lehman Brothers buildings, the ING Insurance Corp building, the Rockefeller Center etc? It tells that Epcot Center looks great on bath salts under all those gleaming lights and mirrored windows-prohibitive to the many, inviting to the few”.
Raymond Meeks: The Sentimentalia of Alabaster and Leaf
“One does not have to be born of heterogametic sex to be reminded of what erosion means to the limestone cliffs, nor to extrapolate what a spring without rain posits for a summer’s cooling pool.”
Lewis Bush: General Interrogation and Jersey Metropole Primer
“There are downsides of course to these multiple identities. You can find yourself developing a bit of a split professional personality and it can make it difficult at times to know where to best direct your energies. Other people struggle with your split loyalties as well.”
Jurgen Maelfeyt: Precious Things
“Lips is just one of his titles that works between the space of desire, appropriation, the body and what I will loosely label as the ethereal space between memory, nostalgia and history considered the “collective design unconscious.”
Susan Lipper Interview: Domesticated Land
“I was very motivated by Deborah’s Bright’s 1985 essay: Of Mother Nature and Marlboro Men, which stressed the importance of differing subjective viewpoints from the established patriarchal vision”
Fabio Sgroi: No Future, Every Future
“1) Violence is total. This is exemplified not only by placing the punk character in films such as “Return of the Living Dead” or “Suburbia” or “Warriors” as the outcast and misunderstood alienist as transgressor…”
Ren Hang’s New China
任航 摄影师 诗人 1987年出生于中国吉林长春，现居北京。在国内外做过多次个人摄影展，参加国内外各大摄影联展，摄影作品常见于国内外各类杂志和书籍，2010年获得意大利第三届特尔纳当代艺术奖，曾出版个人摄影集《REN HANG》、《ROOM》、《NUDE》、《MY DEPRESSION》、《Republic》。
Hayahisa Tomiyasu: TTP, An Immoveable Feat
“In a dialogue where it is often difficult not to mention “medium specificity”, it would be fair in jest to contemplate why photography’s utility is toward change and simultaneously toward stasis. Stasis is where comfortablility lies, but this position also breeds contempt.”