Anticipating Sounds like…An interview with Holly HerndonLisa Holzer @ Rowing reviewedUSC 1st year MFA class drops out<i>Fenêtre Project</i> (2015) exhibition photosAA Bronson in conversationChez Deep: Four Walls, p.1Introducing HARD-CORE’s <i>Asahi 4.0</i><i>Looks</i> @ ICA reviewedAn interview with Ivana Basic<i>K.I.S.S.</i> @ Generation & Display reviewedIntroducing Artyčok.tvAn interview with Fannie SosaMenna Cominetti, <i>Woozee</i> (2015) exhibition photos<i>After The Eclipse</i> @ Flutgraben e.V. reviewedAda Karczmarczyk: ‘Medium’, p.1Steven Warwick, <i>REENGINEERING VILLA AURORA</i> (2015) audioMonira Al Qadiri: Portraits of the End of the World, p.2<i>X is Y</i> @ Sandy Brown reviewedMonira Al Qadiri: Portraits of the End of the World, p.1

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  • The future is without body, in the most literal sense. In an age of growing totalitarian surveillance states feeding off an increasingly hyper-represented public, to be bodiless is to be free. The digital arena provides a test pilot for this kind of freedom with all its unrestrained depravity and joy, the rehearsal stage for a future in which we are not merely the sum of our parts. But for now, the most we can do is play at it, as Ivana Basic says in a recent interview with aqnb, or play with it, as Hannah Black does in another. The disappearing body, however, is appearing all around us.

    Sounds like… is not…

  • “Are you doing anything internet-intensive right now?” Holly Herndon asks through Skype as she struggles with a new internet connection from her latest base in Los Angeles. The US-born but fairly peripatetic producer can’t hear, typing words into the chat window saying she’s only getting every second syllable. She heaves and grunts to give an impression of how it sounds, and it’s not unlike the hyperventilating whoops and howls of a song like ‘Chorus’. It’s the track that follows the first, ‘Interference’, on her second album Platform – out on RVNG Intl and 4AD on May 19 – and it’s one that explores the intimate relationship between a person and…

  • ‘Hello, I’m here’, or ‘Hi, this is what I’m doing,’ is a remark that Berlin and Vienna-based artist Lisa Holzer’s work implies , making itself at home inside your stomach and your head. There is a transparency with which this work conducts itself like in Holzer’s recent performance for the opening of I Did Love You Once at Vienna’s Galerie Emanuel Layr where she a) cooks spaghetti, b) lays a piece of it out on the ‘transparent but milky surface’, stroking it like a single strand of hair and c) photographs it with a large, intended flash. The flash and the spaghetti together feels like…

  • First year students Julie Beaufils, Sid Duenas, George Egerton-­Warburton, Edie Fake, Lauren Davis Fisher, Lee Relvas and Ellen Schafer have left the University of Southern California’s Roski School of Art and Design MFA programme in protest amid allegations of a retroactively dismantled funding model and drastic changes to the existing faculty structure and curriculum.
    Here’s their statement:
    “We are a group of seven artists who made the decision to attend USC Roski School of Art and
    Design’s MFA program based on the faculty, curriculum, program structure and funding
    packages. We are a group of seven artists who have been forced by the School’s actions
    dismantling each of these elements to dissolve our…

  • we wanted to be better and ended up being happy, the name of a Fenêtre project-curated show that opened at Galerie Joseph Tang on March 27 (exhibition photos, top right), is now making its online migration in collaboration with OFluxo Blog. It is also a paradoxical statement that could drive you into an existential scream if you let it. Aren’t better people happier? Or is that ignorant people? Are they happier because they forgot it all? Are we sadder because we keep remembering?
    The title, their press release writes, is an offhand statement in reply to the “promise of futurity in mainstream sci-fi culture in the 1980s and 1990s”. The future, they say, is a…

  • “What if the risk takers hadn’t died?” asks Canadian artist AA Bronson about the 80s AIDS crisis that essentially wiped out a generation of courageous queer artists, “they were the wild ones”. It’s an epidemic that Bronson’s General Idea, operational for nearly three decades, became known for interrogating, until co-members Felix Partz and Jorge Zontal were themselves claimed by the virus in 1994. The three-person collective was perhaps most famous for their Imagevirus series, with Robert Indiana’s iconic Pop Art LOVE logo at its core, ‘AIDS’ replacing the ‘love’ and its image spreading, reproducing and infecting gallery spaces and urban areas in a form that mutated across painting, print, sculpture, video and ‘other’.