Switching Sites

I'm starting up a new web site here, and will no longer post on this blog. New blog posts will go up on the new site, which will have more features. In particular, I'll be able to create an archive of articles there (as PDF or Word files), which I'm unable to do here.

Texte zur Kunst no. 94: Superflex

Texte zur Kunst no. 94 contains my (slightly belated) review of Superflex's retrospective at Kunsthal Charlottenburg.


The books to which I recently contributed more or less monographic essays on Hito Steyerl and Paul Chan could hardly be more different. Too Much World, edited by Nick Aikens, is a handy and afforbable pocket  - the format of which is based on the current aspect ratio of  wide-screen television and video. Accompanying Hito's brilliant show at the Van Abbemuseum, this book is probably the best publication on her work to date - though it is unfortunately marred by the kind of copy-editing bloopers that come with a crazy production schedule. I contributed the essay "Postcinematic Essays After the Future."

Hito's book is lean and light, and seems perfectly adapted to today's mobile reader; it is the paper book rebooted for the age of the tablet. Paul Chan's behemoth, the New New Testament, seemingly goes in the other direction. It is one of three (!) books to be published in conjunction with his exhibition at Schaulager in Basel. The New New Testament collects the (almost) complete series of Volumes Paintings, each one accompanied by a short scrambled text. This publication's monumentality should not be seen as merely symptomatic or regressive; rather, it is part of Chan's extended exploration of the contemporary contradictions of the book, of publishing, and of writing. This is the focus of my short essay "Paul Chan's Book Club," which is the condensed version of a longer text that will hopefully see the light of day someday.

In other monographic news, I just wrote an essay for the book on Eran Schaerf's 2012-2013 series of fm-scenario exhibitions, which is to be published later this year by Walther Koenig. (The fm-scenario online platform is here.) It was good to finally write at somewhat greater length (and, hopefully, in greater depth) on Eran's practice, which so far has not received the critical and theoretical attention it deserves.

Furthermore, the essay I wrote some time ago on Louise Lawler's A Movie Will be Shown Without the Picture will also see the light of day later this year, in a publication on this project dedicated to the project produced by If I Can't Dance, I Don't Want to Be Part of the Revolution. There are, of course, other texts in the works, non-monographic in nature, but those I'll let sneak up on you when they're ready.

Project 1975

The book Project 1975: The Postcolonial Unconscious in Contemporary Art documents Stedelijk Museum Bureau Amsterdam's two-year research and exhibition project, the title of which references the year in which Surinam gained its independence from Holland. The Dutch cultural and intellectual scene has been marked by a curious dearth of critical engagement with the country's colonial past, and colonial unconscious. Project 1975 was an impressive attempt to remedy this at least to some extent, with a number of group shows, lectures, and a series of commissioned essays in the SMBA newsletter. I don't quite understand why some of the latter have not been reprised here, or some of the design decisions, but it is still a worthwhile documentation of Project 1975 - including a series of interviews, an essay on "Mapping Empire" by Ashley Dawson, and my own "Piet Zwart & Zwarte Piet."

The text revolves around two historical cases: Piet Zwart's original photomontage for the cover of Anton de Kom's anticolonial manifesto Wij slaven van Suriname (1934), which ended up not being used, and Petra Bauer and Annette Krauss's recent project about the tenacious phenomenon of Zwarte Piet or Black Pete, which landed the artists and the Van Abbemuseum in hot water for daring to attack "Dutch culture" and "Dutch identity." And yes, being able to use this punning title was pure gravy.

Images: the final cover design of Wij slaven van Suriname (1934) and Links Richten no. 9 (1933).

Commonist Aesthetics

Open! has launched a new series of essays on "commonist aesthetics" (that's not a typo). I'm on Open's editorial board, which involves meetings at Jorinde Seijdel's kitchen table a couple of times per year, and I wrote a brief introduction. At this stage we don't know exactly how long this series will run, and exactly where it will take us, but we have some excellent authors lined up.

Come Spring: Paul Chan & Hito Steyerl

On April 11, Paul Chan's exhibition at the Schaulager in Basel will open; the next day sees the opening of Hito Steyerl's show at the Van Abbemuseum in Eindhoven. I wrote texts for publications accompanying both shows. More incisively than most, these two artists engage with the mutations and contradictions of contemporary cultural production and circulation. 

For Hito's show, I wrote a catalogue essay "Postcinematic Essays After the Future," a short version of which has has appeared in the museum's newsletter, Radically Yours. The catalogue is to be published by Sternberg Press. My texts deals with the migration of the essay from text to video to live performance, and with Hito's notion of "circulationism" as the digital sequel to productivism. In addition, I engaged in an e-mail conversation with Hito for Metropolis M that has just been published in the April-May issue under the title "Glitches of an Exhibition." (Although the title is still in English, the actual text was translated English, or from International Disco Latin, into Dutch.)

Paul's Schaulager exhibition features Volumes, his installation of 1005 mounted and painted book covers. The show is accompanied by three different publications, published by Paul's Badlands Unlimited. One of these is called the New New Testament - a massive volume collecting all Volumes, with short accompanying texts. I contributed a brief essay on Paul's various book- and font-related works and activities, and with changes in publishing and the status of writing at the far end of the Gutenberg Galaxy. 

Top Image: still from a rough edit of Hito Steyerl's Liquidity Inc. (2014). Bottom image: detail of Volumes (2012) and the New New Testament cover. 

History in Motion review

History in Motion has been reviewed by Tom Holert on the Open! web site. I won't try to respond to this insightful and incisive review right now, other than to say that his entirely predictable and fully justified point about the dearth of explicit discussion of postcolonial, feminist and queer temporalities in History in Motion is well-taken. Self-imposed limitations are needed to keep things manageable, but they come at a cost - and demand to be negated in the next phase of the ongoing process of self-education and autocritique that any scholarly or theoretical practice should be.