All in Review
Many years from now, those of us who survive ecological collapse and the technocratic reformation of the global economy will remember Pierre Huyghe.
Max Neumann is a literary painter, by which I mean he is preoccupied with clarifying the same “secret image of reality” that possesses the writer and the state collaborator.
There can never be a history of the internet because the internet is atemporal—like culture or consciousness, it either exists or it does not.
Nathlie Provosty’s paintings contain within them a kind of totality. You want to reach into them but hesitate—not because it’s forbidden, but for the same reason you pause before a door you knew to be closed but now stands before you open.
Despots curb the written word because they fear its expressive power. They haven’t learned that what they should fear is not written language but, instead, the very impulse to write. It is more prevailing than literature, capable of surviving where art cannot.
The literature and art of every country are built on deception and hope, complicity and exile. Only politicians believe they can resolve this condition. Poets merely offer another direction.
“Some of the utterances pilloried are manifestly true,” Jacques Barzun writes. “What damns them is the fact that they are the only thing ever said on the subject.”
Merrill Wagner’s interest in “materialism” seems to be, in fact, a desire to uphold painting’s natural link and allow the earth itself to reduce her works to a base state, a process she merely expedites.
The Moderators shows how the primacy of the algorithm leads to a “disruption” of the labor force itself. Riding on the back of neoliberalism, the gig economy represents a caste-like system in which the worker is valued even beneath a bit of code.
Louise Lawler’s brilliance comes from the way she liberated people just by showing them photographs.