<i>Most Loathed</i> @ 3401 Lee St reviewedHolly Childs’ <i>Danklands</i> reviewedBrian Fuata @ Chisenhale Gallery reviewedRosa Rendl, <i>What you desire</i> (2015) exhibition photos6pm Your Local Time: A document of the documentation‘Visualizing Intersectionality’ by Binghao WongA look back at Newman Festival<i>Deep screen</i> (2015) exhibition photos<i>Smoothie Conference</i> (2015) exhibition photosMartin Kohout: ‘Eyes’, p.2<i>Agatha</i> (2015) @ Center / Hilton documentation<i>Unthinkable</i> w J.G. Biberkopf July 10 mixA review of <i>Living in the Future</i>, Issue 3: ‘New Lands’USC MFA Class of 2015 launch petition<i>An Evening of Live Music</i> @ DRAF reviewedAnticipating <i>Asymmetric Grief</i>Donna Huanca, <i>Water Scars</i> (2015) exhibition photos<i>The Pure Tongue</i> @ Galeria Arsenał reviewedChez Deep: ‘Gloria’, p.2Sentinel, ‘.mimic’ (2015) video

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  • There’s a persistent push-and-pull present throughout Most Loathed, between feeling severely out of place –being that it is in a 1910 Bungalow located in the Boyle Heights neighborhood of Los Angeles –and one of being right at home. It’s the inaugural exhibition in the house-turned-art-space that is 3401 Lee St, and it’s at once a show about ambiguity and exclusivity, all the while perpetuating a concept-driven approach.
    Most Loathed is formally minimal, making use of the white-washed walls and open floor plan of the renovated space, and is curated in a sparse, spread-out way. The three artists involved, Sam Davis, Joseph Buckley, and Daniel Klaas Beckwith –including one candidate and two graduates…

  • Experimental writing, it is said by those more comfortably ensconced in the sagging sofa of English literature, is simply a genre: a stereotypical form of book in which certain conventions apply, the same as in any other. As such, it’s over. That fuss and nonsense was all fine in the days of the proper modernists, from James Joyce, up to say, Brigid Brophy or Gilbert Sorrentino, but really, that’s all been mapped out.  It’s done with. Now it’s time to knuckle down and write studied novels with the occasional nod to Derrida if you really must. The relation to tradition is all the better to show…

  • In the middle of the Chisenhale Gallery studio space, seats and cushions are arranged in a circle. It’s not immediately clear what we’ve come to witness this evening, another in the 21st Century Series, but Brian Fuata has done this performance before. That time it was – as he begins by explaining to us – on Sunday, and only five people showed up. One of them was a very handsome scientist, who passed around a bottle of poppers and talked about gamma rays. It sounds too strange to be true, I’m not sure whether to believe him. But this feeling dissipates as he commits to…

  • I’ve always firmly believed that the most intense, unblinking love can only be found in longing, but maybe that’s only true for people with over-industrious imaginations. What you desire is so often what you love, but so many of us cease to desire what we already have; the cycle is pitiful, endless. For her latest exhibition What You Desire (exhibition photos, top right) that ran at 21er Raum at 21er Haus, April 16 to June 7, artist Rosa Rendl takes on the state of longing. “These days we seem to be in a state of perpetual longing,” writes the exhibition’s curator, Severin Dünser. “We are constantly faced with…

  • 6pm Your Local Time, organised by Fabio Paris and Domenico Quaranta of LINK Center for the Arts of the Information Age in Brescia, Italy is a one-night event that brings together studio visits, exhibitions and conferences to be distributed through the #6pmeu hashtag on 6pmyourlocaltime.com, at 18:00 CET  on July 22.
    These events are mainly experienced through real-time online documentation,  expanding on the idea that the record of a work has shifted from being less a representational tool and more the primary experience. A specifically designed web application that aggregates and collects data with the #6pmeu hashtag presents a democratised presentation of work on the…

  • In their ongoing interest in “discovering new lexica for queer in contemporary art and media” Binghao Wong –writer and curator of Arcadia Missa‘s Asymmetric Grief exhibition, that ran July 17 to 25 –focusses in on the work of London based artist and composer Adam Saad:
    “it would seem that my doctor thinks of pain as an exception
    what a privilege it is to navigate the world like that
    as if pain is something you can pinpoint and eliminate
    not the only thing that reminds you that you have a body
    to begin with.

    we are not broken
    we are working the way we were told to
    do you understand?”
    – stanzas from ‘the bible belt’ courtesy Alok…