An interview with Mat DryhurstHolly White, ‘Supermarket Cafe 2′ (2015) videoPakui Hardware, <i>Lost Heritage</i> (2015) exhibition photos<i>Sleep Cures Sleepiness</i> reviewedAntoine Renard, ‘pro.age’ (2014) video + photosSitting in the <i>City of God</i> : a review<i>Never Never Land</i> @ EOA.Projects reviewedJacques Gaspard Biberkopf, <i>Video</i> mixSophie Jung + Shana Moulton, <i>DOUBLE</i> (2014) exhibition photos<i>In the Clear, Caring, Curing</i> (2014) exhibition photosGili Tal, <i>Panoramic Views of the City</i> (2014) exhibition photosDocumentation of AirBNB Pavilion @ 63rd-77th STEPS (2014)Chez Deep, Dea Nova + the world according to Alexis Penney<i>Apophenia</i> + the ‘Shroom Music & Myco_educational_VJ-set’<i>Quake II</i> @ Arcadia Missa reviewed<i>Heathers</i> (2014) @ Rowing exhibition photosUlijona Odišarija, ‘Browser Windows 2′ (2014) videoLife, language and London’s last Lunch Bytes<i>Alternative Equinox</i>: Das Hund mini-EP mix<i>One step ahead moving backwards</i> @ LEAP reviewed


  • Mat Dryhurst is an artist. He releases music on PAN records, collaborates on audiovisual projects with his partner (and RVNG Intl-signed producer/composer/vocalist) Holly Herndon under the name Kairo, and last year started a graduate program at UCLA. He has lived in Salwa, London, Berlin, LA and Oakland – where he has been since 2008. Recently, he’s been listening to Black Ocean artists Soda Plains and M.E.S.H.. He’s feeling the new Jam City material, too. On January 26 he dined at Napa Farms Market restaurant in Terminal 2 of San Francisco airport before taking a $70 Virgin flight. Sometimes, he goes hiking.

    These aren’t things Dryhurst…

  • “People walk around because they are looking for shops. I walk around because I am looking for you.” A line from the first issue of Holly White‘s Feelings Offline zine. It’s one of a short series of A4 sheets of paper, photocopied and folded in half, with content taken from online sources – namely Tumblr, Twitter, YouTube – where the London-based artist ‘stores her feelings’. Two years later White’s soul still lingers within these networks of affective commodity, whether it’s in the defunct Baskin Robbins as envisaged at her recent solo exhibition No one is going to go there anymore (photos top right) at…

  • It’s interesting to consider the high-definition art uniting a certain set of artists under the shadowless shade of ‘corporate aesthetics’. They tend to come from all over but are drawn together by a penchant for presenting the insidious engines of accelerated economies by mimicking the smooth countours and too-bright whites of these slick and luxurious markers of modernity; technology become the backdrop to a natural state long lost and regenerated under the stark light of an LED lamp. Pakui Hardware impress these same global markers and their opulent associations on the prosthetic bodies of in Lost Heritage (photos, top-right) at Rīga’s kim? Contemporary Art Centre,…

  • Resist the urge to work. That’s the resounding message of the latest Martin Kohout-edited TLTRPreß and 1822-Forum-supported publication Sleep Cures Sleepiness. It’s a one that’s been echoed across contemporary discourse, from Gerald Raunig’s Factories of Knowledge, Industries of Creativity (2013) to Maja Cule’s Facing the Same Direction (2014). They’re essentially the product of the realisation that the model of the freelancer, or the artist, is one that’s become the exploitative structural status quo of a post-fordist economy.
    “To work is to be”, repeats Petra Van Brabandt as the running mantra of a system of employment that aids in internalising an artist’s work ethic in ‘Laziness Cures Resentment’….

  • Death is a thing Life is probably most concerned about; an obsession with avoiding it, specifically. It starts with the Fountain of Youth and ends in synthetic biology and DNA mutation – anything to stay alive, or at least give the impression of doing so. At Berlin-based artist Antoine Renard‘s solo exhibition, pro.age (photos top right), running at Dresden’s S T O R E from December 3 to 13, 2014, the gallery is inhabited by clay model dinosaurs, birds and mammals and live cellar spiders. They’re surrounded by a series of UV prints of various deformation filters applied to DNA sequences and presented on wood…

  • I think: it takes a real asshole to agree to do a poetry review.
    I am sitting under a makeshift coconut-shaped hut somewhere down the Mexican coast, flipping through the digital pages of City of God, Harry Burke’s new book of poems accompanied by the architectural drawings of Alessandro Bava. The only rain the blazing week has seen drizzles through the gaps of the straw roof and collects around my toes. Nearing the end of my first sober month in more time than I can adequately understand—and the longest I have been away from Berlin since moving there over three years ago—I am feeling things…