Now we are vomiting Vines. Suffocating gardens of earthly delight incite immersive, daily make believe. Do you trim your Vine or let it grow wild? Is it adornment or is it a weed? Sign-on in #selfieaffirmation of the you we now incessantly see. When you are watching me you are consuming desire, pink paste fills your feed. In the absence of product, what do you need? Your urgency is currency, eat and release, eat and release. Perpetually purging, this need to feed, this need to feed the feed.
Eat the unfold @gorgeoustaps
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Image from Jessica Borusky, The Posture Grid! (2013)
Ring Around Rogue Bottom
Creighton Baxter, 2013
Ring Around Rogue Bottom is a queer and lonely joke actuated through a crooked game of ring-toss. The performance is a spectral type of child's play; obsessivelly rummaging through a language of trauma that employs humor, endurance and repetition. It is a no-top-needed type of situation.
Ring Around Rogue Bottom was performed within the post-performance installation of Jessica Borusky's seven-hour durational work The Posture Grid! Baxter thinks of her engagement with Borusky's performance detritus as a fragmentary moment of an evolving dialogue between the two artists; exploring points of collaboration and critical engagement with each other's artistic practices surrounding themes of sexual trauma/survival, body fascism and queer histories within the United States. Baxter and Borusky comprise one half of the creative collective The Highest Closet, with artists Sarah Hill and Hayley Morgenstern.
Still frame from Conan O'Brien Finger Wave (reaction GIF).
I asked Jake to mimic a bunch of reaction gifs I found online. This one turned out the best. I like functional gifs that can be injected into conversations and gossip blog comment sections. This is a gesture you can copy+paste into interactions that require sass. You can forget about this gif's brief foray into art territory. No glitch. No new media.
I've often asked Jake to be in my work because he is a tragic beauty. I've never met him IRL. I like sending people directions and seeing how they execute them. It's never what I think it will be, which is the reason to do it. I don't want to have control over images. I want to have transatlantic sporadic virtual working relationships.
He looks focused and slightly concerned. His accessories are sassy but he doesn't exude sass. The gesture is not backed up by the corresponding emotion. There is a distance between who you are and who you want to be. The GIF exists in the space between those things.
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Still frame from the music video for Love You Down by INOJ.
Social Sculpture: In Remembrance of Poise and a Choreography of Loving You Down makes parallel the histories of social sculpture and the gendered and ritualized cultural practices found in dancehalls or nightclubs. The artist is in her studio, positioned on a chair, dressed in disco shorts and a snug-fitting shirt, indistinguishable from the white background striped in shadow behind her. Oscillating between a cross-legged, poised position that projects the stereotypical poses of flirtation, femininity and nightlife "peacocking," and a collapse that suggests a body exhausted by—or disinterested in—the scene around her, the artist shifts between "visible" and "invisible," "public" and "private," "on-" and "off-stage." Not quite loved, nor ignored, this female body—sculptural in its own right—remains stuck on loop, hoping to be recognized, as INOJ's 1997 hit "Let Me Love You Down" envelops her.
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Over the next few weeks, Rhizome will present a series of performance GIFs curated by Jesse Darling. Darling's introduction is below; the first work (by Maja Cule) will be on view from Thursday May 16.
2012. The year of the doomsday apocalypse. The world didn’t end, though some of us thought it might, and perhaps we even hoped it would, if only to give us something to look forward to. Žižek, paraphrasing Jameson, famously said that it’s easier to imagine the end of the world than the end of capitalism—and this was in a speech given at Zucotti Park during Occupy Wall Street, in which we tried, and failed, to imagine the beginning of something else.
But following the natural order of events, as well as what Jameson called “the temporal paradox” (in which history stops but time grinds remorselessly onward in a continuous, cyclical production of “newness”), 2012 came and went and we all kept on doing what we were doing. A perky 25-year-old acronym beat the competition – teeth-grindingly zeitgeisty notables such as YOLO, superstorm and Eurogeddon – to become the Oxford Dictionary’s US Word of the year. You probably know that. What you may not know is that the OUP award went to a verb, rather than a noun: not to the name of a file format, but to the act of making one. To GIF.
To GIF is defined, somewhat redundantly, as “to create a GIF file,” but what would it mean to decouple the verb from its referent? To GIF: to capture a moment on an endless loop.
Now it’s 2013, though nothing has changed. Seeping, soul-level post-Fordism and the precarization of the labor market mean that most of us never stop working: socializing bleeds seamlessly into networking, and meanwhile, each ...
iKea [Stockholm Syndrome], Single-channel video, LCD TV screen, 2012
Can you talk about the body of work you've just finished? Where do you see yourself going from here?
My solo show (at Arcadia_Missa), Stockholm Syndrome and Other System Failures, felt like a manifesto as opposed to a showcase or retrospective. It was kind of a show within a show, a meta-installation; the work sat on plinths and IKEA cabinets placed alongside each other, and everything was painted thickly in shitty white vinyl emulsion (I feel like white paint is interesting as a symbol of structural violence - institutionalisation, gentrification, erasure). There were some discrete works in there - Padded Cell (Sultan), Please Let This Be Real, iKea, There's A Little Pre-911 Myspace In All of Us. But the other stuff on show was just what was generated in the labor of putting it all together: tools and detritus. The broom, the beer trolley, the paint pot. I didn't want to clean it up. I didn't want to make the distinction. Everything had a museum card and a price tag: post-fordism on speedy drugs [for enhanced pleasure and better performance]. I've had my blue period, like, my Facebook period, and I think I'm just about done with IKEA, but I'm still interested in the tension between the production of an art object and the collateral damage (material, financial, emotional) of that production process. I guess in my case the art object is an analogue for the subject in the world. Maybe even a self-portrait.
Your Tumblr is a great repository of images, videos, and texts that seem to commingle and collide in a way reminiscent of Benjamin's Arcades. Of course, there's something inherent in the structure and aesthetic of Tumblr that invites that comparison ...
A page from David Horvitz's A Wikipedia Reader,2009
“Very few people are being promoted into the humble, hard-working positions which make Wikipedia work.”
- Robinson Meyer via The Atlantic
Earlier this month Wikipedia held its annual summit in Washington, DC. Afterwards, The Atlantic summarized the event in an article outlining how Wikipedia is slowly running out of admins to edit the site’s content. A trend is emerging. Fewer people are applying, and the current editors are slowly leaving. The long-term future has a flicker of uncertainty. To spark some discussion, I surveyed four artists and writers about the decline. We can all speculate what effects a decline in editor participation will have on Wikipedia as a global knowledge-base, but what are the implications for artists who use it as a tool for research and making work?
A healthy creative practice in the 21st century demands a baseline level of unencumbered access not just to information but to a broad range of cultural practices in general. While some of the most successful artists of the digital age are, as Mark Amerika has put it, 'remixologists' of information and culture, such a practice isn't sustainable without grassroots archives to draw from such as Wikipedia. For my own work, Wikipedia has long been a crucial entryway to information on the history of computing and digital art - Wikipedia pages on these topics are remarkably detailed and informative in ways often unmatched by books or print-based articles. I fear that the potential decline of Wikipedia would not only severely impact creative-critical practices but it also indicates more broadly that while we have made tremendous strides in opening access to information, we do not yet have any strategies in place for a long-term curatorial practice of maintaining and preserving this access ...