16 April 2017

Quote of the day, yay!

"This should not surprise us, given that the Feuerbachian project of humanist essentialism proceeds by installing Man in God’s place but otherwise leaving its conceptual foundation in place. Like the Roman conquerors who replaced the heads on local totems with the visage of Caesar while leaving local rituals intact, the religion of humanism preserves the inherited, social relations of truth as it found them. Instead of an implacable, Abrahamic God, the symbolic effects of embodied, socially situated, and culturally lived subjectivity are now collapsed directly into sheer data, as the basis for a new regime of truth.

Ultimately, the universal, unconscious material paranoia of the data harvesters is reflected in the particular, oversensitive mania of the data providers. The imaginative faculty, its aptitude, is reduced to a claustrophobic sense that the world is already predetermined and that there exists a sacred code by which everything is connected, but in a way that can only be guessed at using mere cues and proxies. In such a scenario, artificial intelligence is often paranoically perceived as a kind of a new, self-governing Behemoth, which is, as we know from Schreber, merely the same old God of voluntary servitude to, and dependency on, phantasms of power and domination."

-- Antonia Majaca, "Little Daniel Before the Law: Algorithmic Extimacy and the Rise of the Paranoid Apparatus", e-flux Journal #75, September 2016.

Thanks to artist Brian Fuata for directing me to this.

12 April 2017

Ueinzz Theatre Company @ If I Can't Dance, I Don't Want To Be Part of Your Revolution, Amsterdam

In early December 2016, I was in Amsterdam for part of the finale of If I Can't Dance, I Don't Want To Be Part of Your Revolution's Edition VI "Event and Duration". I attended, among other things, the Brazilian Ueinzz Theatre Company's performance Zero Gravity, Episode V: Spaces, twice. First at Badhuistheater on Thursday 8 December, and second at Plantage Dok on Saturday 10 December 2016.

I was asked to write a visitor account for If I Can't Dance's "In Rear View" publication, reflecting on Uenizz's piece. The published version, titled "At Least Twice: 1986/2061" can be read here or at the following link:


Thanks to Janine Armin, Frédérique Bergholtz, Susan Gibb, and Giulia Tognon.

20 March 2017

“What’s Your Favourite Conspiracy Theory?” @ Buenos Tiempos, Int./Mophradat, Brussels

The Brussels launch of curator Francis McKee's book How to Know What’s Really Happening was held on Monday 20 February 2017, from 7pm, hosted by Buenos Tiempos, Int. and Mophradat at Quai des Charbonnages 34, 1080 Molenbeek-Saint-Jean.

Edited by Maha Maamoun & Ala Younis, with Mai Abu ElDahab, and published by Kayfa ta, Mophradat, and Sternberg Press in late 2016, McKee's essay is the third in the Kayfa ta ("how to") series, which "respond to some of today’s perceived needs; be they the development of skills, tools, thoughts, or sensibilities."

The launch featured a track by artist and musician Geo Wyeth, a talk by McKee himself about some of his favourite conspiracies, one by artist Sven Augustijnen, and a reading by me about the figure of Christine Villemin. All this occurred within a décor made by artist Laurie Charles.

Designed by Julie Peeters and Valerie Arif, the book is available in two editions (English and Arabic):

9.6 x 14.8 cm, 56 pages, softcover
ISBN 978-3-95679-272-4 (English)
ISBN 978-3-95679-296-0 (Arabic)

Many thanks to Alberto García del Castillo and Marnie Slater for the invitation to present my work in this context, and to Joel Mu for his ongoing support.

Photos by Laurie Charles.

18 March 2017

Use “Loge” in a Sentence @ Meeting Points 8, Brussels

Back in December 2016, I participated in Use “Loge” in a Sentence, a writing project by Mirene Arsanios with invited participants Alberto García del Castillo, Philippine Hoegen, Ghislaine Leung, Natasha Papadopoulou, Michaël Van den Abeele, Kym Ward, and myself.

Each of us were asked to respond with a text to a short sentence containing the word "lodge" (or "loge" in French), and to reflect on that word's various architectural, esoteric, and metaphorical meanings. The eight resulting texts were read out loud on two different nights as part of the Brussels leg of Mophradat's Meeting Points 8: Both Sides of the Curtain, hosted at La Loge, 7-17 December 2016.

To read my text, which was performed by artist Marnie Slater, please click here: https://www.academia.edu/31918250/_Use_Loge_in_a_Sentence_ed._Mirene_Arsanios_Meeting_Points_8_Both_Sides_of_the_Curtain_Brussels_2016

Thanks to Mirene, Alberto, Philippine, Ghislaine, Natasha, Michaël, Kym, and Marnie, as well as organisers Mai Abu ElDahab and Lauren Wetmore, with Malak Helmy, Raimundas Malašauskas, and Christophe Wavelet.

19 January 2017

Quote of the day, yay!

"We prefer restitution to wages and gratitude. A guaranteed income provides for a monetary means that is a necessary but not sufficient condition. Restitution—giving back—is a material-symbolic circuit, a reproductive circuit of a worthy life, which cannot be exhausted in the possibility of paying for what is necessary to survive. Being part of a circuit of restitution means accessing, using, and multiplying the conditions of living. Do I want a wage or everything that is necessary for a joyful existence?"

-- Federica Giardini and Anna Simone, "Reproduction as Paradigm: Elements for a Feminist Political Economy", trans. Dave Mesing, Viewpoint Magazine, 31 October 2015.

18 January 2017

Death of A Self @ Dortmunder Kunstverein, Germany

Back on 22 October 2016 I gave a reading in the context of "Death of A Self" symposium, held at Dortmunder Kunstverein.

Hosted by curator Line Ebert, the other speakers were philosopher Marcus Steinweg and writer Hans-Christian Dany. The symposium occurred in the setting of the group exhibition ICHTS, which ran from 27 August - 30 October 2016.

I spoke about Catherine Malabou's notion of woman as "negative essence" and the idea of "disappearing" from the regime of visibility - or "losing authorship" - in the context of contemporary art, using personal anecdotes and examples of the writing of certain female thinkers. This lecture expands on an essay I wrote for Hybridize or Disappear (ed. João Laia) in 2015, "Disappearing the Straight Mind: Witches, Monsters, Zombies, Strangers", published by Mousse.

Many thanks to Dortmunder Kunstverein director Oriane Durand and artist Frieder Haller for the invitation.

4 January 2017

Oslo Art Weekend & review of Sandra Mujinga @ Oslo Kunstforening

In mid-October 2016 I had my first trip to Norway as part of the Oslo Art Weekend visiting critics program.

Some highlights included, in alphabetical order: Nina Bang's solo show Birding at Kunstplass[10]; Ragna Bley's work in the group show Roaming at Unge Kunstneres Samfund (UKS); Benjamin Crotty's solo show at VI, VII; Tora Dalseng's solo show Lucky Night at Noplace; Elisabeth Haarr's solo show Strid at Kunsthall Oslo; Lotte Konow Lund's solo show Hold Everything Dear at Henie Onstad Kunstsenter; the project space Louise Dany, run by Ina Hagen and Daisuke Kosugi; the late Sidsel Paaske's retrospective On the verge (curated by Stina Högkvist) at the Museum of Contemporary Art; the exhibition space SCHLOSS, founded by artist Ida Ekblad and journalist Marie-Alix Isdahl Voisin; and the group show Kreuzberg Mega Show at artist-run gallery Slursula, which is located on a boat, especially the works by Liv Ertzeid, Melanie Kitti, Helena Lund Ek, and Urd J. Pedersen!

Sidsel Paaske:

Kos and Ina of Louise Dany:

Urd J. Pedersen's watercolour Angel/Anger (2016):

Furthermore, Sandra Mujinga's exhibition Real Friends, held at Oslo Kunstforening, 14 October - 13 November 2016, was brilliant. I reviewed it for the current issue of frieze magazine (no. 184, January-February 2017):

You can also read it online here: https://frieze.com/article/sandra-mujinga.

Many thanks to OAW organisers Elisabeth Byre, Stina Högkvist, Jenny Kinge and Mike Sperlinger!

17 December 2016

Repetition/s: Performance Philosophy in Ljubljana

From 21 to 24 September 2016, I participated in the Performance Philosophy conference Repetition/s, hosted across venues in Ljubljana, Slovenia, including the University of Ljubljana and City Museum of Ljubljana.

My first academic conference, I used this occasion to expand on some research and writing I had begun early this year around the Argentinean poet Alejandra Pizarnik (1936-1972), and as a chance to hear and see lectures and performances by an array of fantastic international academics and artists working at the intersections of philosophy, performance, psychoanalysis, etc.

Ljubljana was the perfect location for these questions to come together, and some of the highlights include the performances AKTUATOR::2016 by Zupančič::Turšič::Živadinov, Botched Executuion by Vanessa Place, and The Collected Works of Victor Bergman by The Family; as well as lectures by Lucas Ballestín, Justin Clemens, Bojana Kunst, Dorota Sosnowska, Samo Tomšič, Mischa Twitchin, Christopher Wallace, Alenka Zupančič, and more; not to mention the dozens of great conversations had during the course of the conference!

This is the abstract for "Seeing Her Voices: Rehearsing Alejandra Pizarnik", delivered on Thursday 22 September 2016 at the Univeristy of Ljubljana (FA 415) in a session with Polona Tratnik and Nadia Bou Ali, chaired by Miklavž Komelj:

This text-lecture-reading-performance works with the words of Argentinean poet Alejandra Pizarnik in order to extract, not just the stone of madness, as the title of her recently published anthology avows, but the terminally displaced essence of her poetic oeuvre. Recently translated into English from Spanish, which I cannot speak, I approach Pizarnik from the presumed position of something always being missed – someone always being missed. I believe it is how she saw language, by the way, as a deathly construction to which she belonged in a manner excessively proportionate to her actual lack of belonging (for who belongs in language?). Language, words, her voices; that which would never fulfill their mandate but which nonetheless compelled her to undertake to make sense. “Where does this writing lead her?” Pizarnik asks, “To blackness, to the sterile and the fragmented.” And it’s not nonsense. Rather, being confronted with her writing forces me to recognize, by way of her, what I am in turn lacking, which is precisely the source of my desire for her, that is to say, for her writing – terminally displaced. It is a sort of Eros, as Anne Carson would describe it, or an exemplary form of Minimal Difference, as Žižek notes. The subject will always be found, thus, in its own negation. For Repetition/s, I seek to convey Pizarnik’s language, poetry, and voice as precisely vital because impossible (paraphrasing Jame Rodríguez-Matos). Recording, delay, citation, and repetition, trying to make sense; a rehearsal of sorts – if to rehearse is to endlessly prepare for the inevitable.

More info here: http://repetitions2016.org/participants/#88.

Many thanks to the organisers Ben Hjorth, Bara Kolenc, Gregor Modor, and Anna Street for hosting such an exciting event, and to all the new and old friends including Lucas Ballestín, Helen Brecht, Justin Clemens, Mauricio Gonzalez, Sigi Jöttkandt, Sami Khatib, Peter Klepec, Luka, Karl Sjölund-Teglund, Kiri Sullivan, Mischa Twitchin, Federico del Vecchio, Christopher Wallace, et al., for making these four days so much fun!

18 November 2016

Quote of the day, yay!

“... a decision that would not go through the test and ordeal of the undecidable would not be a free decision; it would only be the programmable application or the continuous unfolding of a calculable process.”

-- Jacques Derrida, “Force of Law: The ‘Mystical Foundation of Authority’”, in Acts of Religion, ed. Gil Anidjar (New York: Routledge, 2002), pp. 228–298.

16 November 2016

Practices of Love, Friendship and Other Obsessions @ Volksroom, Brussels

On Tuesday 13 September 2016 from 20:00, Xenia Taniko Dwertmann, Roni Katz, Elena Betros and myself hosted the the performative event Practices of Love, Friendship and Other Obsessions at Volksroom, Brussels.

Having met earlier this year in Berlin, the four of us each contributed elements of our work - past and present - creating an evening of interconnected acts; we performed iterations of our divergent practices with one another and the audience. Tunes before and after were by Thomas Proksch. Photo documentation Thomas Dupal.

Here's the introduction, written by Dwertmann, Katz and I:

We invited ourselves to a new city, then we invited others. We are hosting hosted. And here is where we insist. On the impossibility, the inappropriate and impertinent. This is an attempt. This is a rehearsal. A rehearsal of (all) sorts, to endlessly prepare for the inevitable. Since inevitably, boundaries are made to be crossed.

We could say that these practices are like the question-exclamation-marks, commas and period, the Doppelpunkt of our lives, addressing our work, and the world we inhabit. We ask ourselves and one another: What are the borderlines between our public and and our private, friend and lover, leisure and labor, between work, life and art? If we are at work all the time, what do we labor for? What about the nonproductive labor that happens in the most private parts of our life, shed away from the public, performed in households, bedrooms, kitchens, bathrooms. The kind of labor that one performs with oneself, or next to another. What happens when that private and invisible, secret thing is performed publicly? How can being publicly intimate be an act of caring for oneself in a community-constituting way? Who says where this belongs, and what is longed to be public? When practicing public intimacy, we slide through the confessional, the biographical, the social, the political, the paradoxical, the poetic. In the poetry of the paradox lies a radical intimacy with one’s own body, producing queer satisfaction on its own terms, making way for friction and conflict, fantasies, healing, shame, self-pleasuring, rage, panic, madness, obsessions, desires.

Is this labor, this language, leading anywhere?

I presented two pieces of writing. The first, read by me, was three short narrative vignettes taken from my contributions to Exquisite Consequences (2016), published on EFFE. The second was a text titled "A text by someone who could have done otherwise", written to parallel a work by Betros that was exhibited at West Space, Melbourne in 2014. Originally written in a script form, though intended to be read in private, the Volksroom event was a chance for this piece to be read aloud, with our four voices taking each line in turn.

For more info, you can visit the Facebook event: https://www.facebook.com/events/291288867909856/

Thanks to Roni, Xenia, Elena, Thomas and Volksroom for their welcome and trust.

8 November 2016

Mars Square Jupiter @ 55 Sydenham Rd Marrickville NSW 2204 AU

Back in August, a collaborative work I made with artist Elena Betros was part of an exhibition titled Mars Square Jupiter, held at 55 Sydenham Rd Marrickville NSW 2204 AU, and organised by Sydney artist Iakovos Amperidis.

Shaping a personal universe of mystic references, this group-show-as-solo-show included work by Amperidis (beside artist Doelow Da Pilotman and Amperidis' mother Themelina Platsis), as well as work by Sydney artist Del Lumanta, his son Ilya Amperidis, father Lucky Amperidis, and Betros and myself. We had spent our summer holiday on the Greek island Kalymnos, where Platsis grew up, and produced the piece Who's Iakovos? Who's Iakovos? (HD video, sound, 2016) as a result.

Running from 19 August - 5 September 2016, documentation of the show is now available online here: http://www.55sydenhamrd.com/mars-square-jupiter.

Thanks to Iakov, Themelina, Irini, and 55.

17 October 2016

Quote of the day, yay!

"Don’t wait for inspiration. Remember. Do not wait for inspiration. You don’t need to be inspired, to write a poem. You need to reach down and touch the thing that’s boiling inside of you and make it somehow useful."

-- Audre Lorde, as quoted by Ada Gay Griffin & Michelle Parkerson in "A Litany for Survival: The Life and Work of Audre Lorde", BOMB 56, Summer 1996.

2 September 2016

"Pale Like A Fish" by Ella Sutherland (2016)

On 8 July 2016, Sydney-based New Zealand artist and designer Ella Sutherland launched her book Pale Like A Fish in Christchurch, New Zealand.

Published by North Projects and Ilam Press, and printed by Gemma Banks on risograph, the paperback publication sits somewhere between an exhibition catalogue and an artist book.

Designed by Sutherland, Pale Like A Fish expands on her 2015 exhibition at North Projects, Boring month start to finish, the whole month (12 September – 17 October).

The book "brings together a series of contributions from artists, writers and designers, developing a territory to think about the navigation of text, language and design in printed spaces. The publication seeks to position the page as a space to work in and outside of commercial endeavors; looking at how the influence of gesture and narrative in understanding ‘typical’ reading spaces may include detour and occasion, rereading and exchange."

Inviting peers and collaborators to contribute, Sutherland's Pale Like A Fish mixes forms and formats including an essay by curator Sophie Davis, an interview with Newspaper Reading Club (Fiona Connor & Michala Paludan), poetry by artist and musician Dawn Blood, excerpts from an ongoing email correspondence between Sutherland and I (set in the typeface [Re]Scan, which she designed based on my handwriting), artist pages by Riet Wijnen, as well as drawings and imagery of Sutherland's dispersed throughout.

Printed to an edition of 200, you can obtain a copy for NZ$15 + postage by contacting North Projects at: info@northprojects.co.nz.

Many thanks to Ella.

ISBN 978-0-473-36239-3.

22 August 2016

Quote of the day, yay!

-- Eduardo Galeano, “Euroeverything,” in Mirrors: Stories of Almost Everyone, trans. Mark Fried (New York, NY: Nation Books, 2009).

15 August 2016

Dissect #3 - exhibition and journal contribution

To coincide with the launch of Dissect Journal #3, on Wednesday 17 August 2016 the exhibition Tell Me What You Have and I Will Know What You Are opens to the public at Unit 32, 2 Exhibition St, Melbourne VIC 3000, Australia.

Curated by Dissect co-editor, Audrey Schmidt, the show is open 10am to 6pm every day from Wednesday morning through Sunday 21 August 2016. Facebook event!

Hosted in an Airbnb apartment in the centre of Melbourne during precisely the same dates as the Spring 1883 art fair in order to highlight a "fully managed artificiality," the location "speaks to the merging of public and private spheres." The exhibition includes "artists whose work focuses on ‘the body’: embodiment, the collective body, the body as an institution (‘the body corporate’), the body as vessel, as commodity and as site of production. In varied ways, the work featured engages with the intersections between subjectivity/identity, art, commerce, technology, critical theory and political activism as it relates to ‘the body.’"

The artists are: Anastasia Klose, Body by Body, Callan Bradley Hales, Cristine Brache, Eleanor Ivory Weber, Hana Earles, James Ferraro, Karen Finley, Katherine Botten, Katie West, Monica's Gallery, Natasha Madden, Phebe Schmidt, Quintessa Matranga, Rare Candy, Ruth O'Leary, Tanja Ostojić.

Though my name accidentally doesn't appear on this lovely handmade poster by Melbourne artist Natasha Madden above, I have a piece in the show, a revised version of a two-page text titled "Monica Lewinsky" that I wrote for my exhibition No Private Problems, held at M.I/mi1glissé earlier this year. The new text, "Instruction: Lie Down on the Bed and Read," invites you to do just that, and includes the custom typeface designed by Ella Sutherland based on my handwriting. You are invited to keep the A4 sheet once you have read it.

Edit: Install pics via Audrey Schmidt (with Ruth O'Leary & Phebe Schmidt work visible):

And more here: http://dissectjournal.com/exhibition/.

For those who aren't in Melbourne or cannot make the exhibition, I hope you will have the chance to obtain the 3rd issue of Dissect Journal, whose theme is also "the body." I have some artist pages, also from the above-mentioned Berlin project, including a new introductory text and the first publication of exhibited text-based posters and a photograph.

Edited by Audrey Schmidt, Chloe Sugden and Zoe Theodore, and designed by Clare Wohlnick, the issue includes contributions from: Philip Auslander, Dodie Bellamy, Eva Birch, Ramsay Burt, Travis Chamberlain, Amy Charlesworth, Andrea Fraser, Tim Gentles, Isabelle Graw, Amelia Groom, Aurelia Guo, K8 Hardy, Chris Kraus, Carol Que, Ander Rennick, Amelia Winata, Jarrod Zlatic, and many of the artists in Tell Me What You Have and I Will Know What You Are.

It will be a great read and can be pre-ordered online here, and will be available in good book stores.

Many thanks to Audrey.

14 July 2016

Sam Pulitzer @ Etablissement d'en face

I reviewed US artist Sam Pulitzer's self-titled Brussels solo show at Etablissement d'en face for frieze, which can be read here:


Thanks to Paul Clinton.

27 June 2016

Poetry & Noise @ West Space, Melbourne

This Thursday evening, 30 June 2016, at Melbourne's West Space, Molten Upset present an evening of readings and performances titled Poetry & Noise.

Poetry & Noise showcases the work of female artists and writers working with text, sound, music, and voice. Entry is free and doors open at 18:00, with the event commencing at 18:30. The program includes works by the following:

Aurelia Guo, Autumn Royal, Dawn Blood, Eleanor Weber, Elena Gomez, Hana Earles, Katherine Botten, Lisa Lerkenfeldt, Natalie Harkin, Papaphilia, Sophie Cassar, and Spike Fuck.

I was invited by the event's co-curators Lisa Lerkenfeldt and Autumn Royal to propose a work for the event, and the result is a new piece titled Holes, which incorporates pre-recorded audio components with live text/voice. The reading will be performed by Jessie Hall.

Many thanks to Lisa and Autumn for inviting me, and to Jessie for performing.

EDIT: Jessie Hall performing (photo: Lisa Lerkenfeldt):

EDIT: Two media pieces about the evening have emerged, one on the 3CR radio show Women on the Line, the other on a blog post by the organisers for Cordite Poetry Review.

13 June 2016

No Private Problems @ What's What, Lyon

This Thursday 16 June 2016 from 19:00, I will be presenting part of my project No Private Problems at Café Bellevue, 17 Cours Général Giraud, 69001 Lyon, France.

The evening is part of What's What, a month-long program of events hosted in a local bar and organised by the École nationale supérieure des beaux-arts de Lyon (ENSBAL) Post-Diplôme cohort of 2015-16 (Agathe Boulanger, Daniel Frota de Abreu, Signe Frederiksen, Jules Lagrange, Liv Schulman), directed by curator, critic and editor François Piron.

What's What invites artists, writers, directors and theoreticians to "share their work methods from behind the bar". On Thursday I will be presenting alongside Lyon artist Bérenger Delfour. Previously Yoan Sorin, Flora Moscovici and Kasia Fudakowski have presented their work, and the last half of the month sees Gwénaël Morin and Tristan Garcia at the bar.

Many thanks to the What's What organisers, to course manager Alain Ailloud and, in particular, to artist Signe Frederiksen for inviting me.

29 May 2016

On A Constructed World for Peeping Tom's Digest #4: Paris

About a year ago, I wrote about the Paris-based Australian artists A Constructed World in response to their round-table performance Like I talk to you right now (23 May 2015, La Maison Rouge, Paris, France).

ACW describe the performance (pictured below): 'In the luminous room of Antoine de Galbert’s collection of unassigned masks and headdress, amongst a removed shamanistic, ritualistic alterity, A Constructed World at Large present a hallucinating group and an open score about truth becoming negative. From a fragmented position inside language and outside of supervision the group considers the true and the false in a search for conversation that is both ubiquitous and invisible. And objects speak.'

My text, titled ACW: What Happened in the Performance Yesterday (for you)? What Occured? was commissioned by Peeping Tom and appears in their 4th digest exploring contemporary art scenes around the world, 'Paris: Le Grand et au-delà'. This bilingual (French and English) issue of the digest features 70 contributors and 'teases out an offbeat and distanced portrait of the Parisian and French scene'.

The launch of the publication is next Thursday 2 June 2016 at Shanaynay in Paris, from 18:00 to 21:00. See Peeping Tom site for more info, or the FB event.

Thanks to Geoff Lowe and Jacqueline Riva (ACW), to editor Caroline Niemant, and to translator Clémence de Montgolfier.

EDIT: You can access the text online here:


15 May 2016

In development: Vanishing Point

On 18 September 2015, Melbourne-based artist Shian Law, presented a showing of his new work Vanishing Point at Arts House's Meat Market venue in North Melbourne.

Currently in-development, the work is described as:

'a hybrid performance documentary exploring acts of self-preservation within an ephemeral art form. With a crew of filmmakers, choreographer Shian Law strategically captures, archives and fabricates the process of his collaborations with dance luminaries Deanne Butterworth and Phillip Adams. As the cameras historicise each artist the question emerges, “whose f*cking work actually is this?”'

I was invited by Law to write the text script for Vanishing Point, which is read out live by a narrator during the performance. An initial version of this text was presented for the 2015 showing, with the final, longer version in-development for the premiere in 2017.

An excerpt from my text:

What you have seen, heard and spoken could be revived at any moment. But how would you know if you had seen, heard, spoken it before? It will have changed, and you won’t even have noticed; it will have changed while you weren’t looking. While you were off doing something else, looking at something else. No need to keep looking here. This will lead somewhere else. You won’t even remember if what you were seeing, hearing or speaking was fake, whether it was a stand-in, or the real thing.

Many thanks to Shian for taking a chance on me. I am excited to continue working on this project, and to see its outcome in 2017!

18 April 2016

Psychoanalytic thought #003

Alenka Zupančič discussing sexual difference and ontology in an interview with Ran­dall Terada titled 'Sex, ontology, subjectivity' (2015), sourced from Mariborchan:

'The sexes are not two in any mean­ing­ful way. Sexu­al­ity does not fall into two parts; it does not con­sti­tute a one. It is stuck between “no longer one” and “not yet two (or more).” I would say that it revolves around the fact that “the other sex doesn’t exist” (and this is to say that the dif­fer­ence is not onto­lo­giz­able), yet there is more than one (which is also to say, “more than mul­tiple ones”).

[...] my claim is, fur­ther, that if we simply replace two with a mul­ti­pli­city (and claim that there are more than two sexes), we do not get out of this same logic of onto­lo­giz­a­tion. We affirm that there are many sexes, and miss the very onto­lo­gical impasse involved in sexu­al­ity. [...] It is not simply that we think onto­logy can­not begin with One (this point is not very con­tro­ver­sial), it is that we also think it can­not begin simply with “mul­ti­pli­city,” con­ceived as a kind of ori­ginal neut­ral­ity. This is the real core of this debate. I believe the altern­at­ive between One and the mul­tiple is a wrong altern­at­ive.

[...] the basic idea is this: onto­logy begins, not with One and not with mul­ti­pli­city, but with a “minus One” (Lacan talks of l’un en moins in Sem­inar XX). Mul­ti­pli­city is already a con­sequence of this para­dox­ical minus One, which is not, but struc­tures the field of what is. In this sense mul­ti­pli­city is never simply neut­ral, but biased by that ori­ginal neg­at­iv­ity, and hence ant­ag­on­istic. The way this struc­tur­ing neg­at­iv­ity (or onto­lo­gical impossib­il­ity as insep­ar­able from onto­logy) exists in the world is in the form of an impossible two, that is, in the form of sexual dif­fer­ence which can­not be onto­lo­gized, pos­ited in terms of dif­fer­ence between two beings, two onto­lo­gical entit­ies.

Sexual dif­fer­ence in the strictly Lacanian sense of the term is the way in which the minus One, as neg­at­iv­ity struc­tur­ing the realm of being, gets to be for­mu­lated within this very being as its point of para­dox­ical impossib­il­ity. My point is not: there are only two sexes, but rather: there is only the split, the ant­ag­on­ism. Ant­ag­on­ism is not simply ant­ag­on­ism between two things, but also, and more fun­da­ment­ally, what struc­tures the field in which these things appear.

You men­tioned Slavoj [Žižek]’s example from Levi-Strauss’s Struc­tural Anthro­po­logy, which is also a per­fect example of this dif­fi­cult, counter-intu­it­ive point accord­ing to which ant­ag­on­ism some­how pre­cedes the (two) sides of the ant­ag­on­ism. If the two vil­lage groups draw two com­pletely dif­fer­ent maps of the vil­lage, the answer is not to take a heli­copter ride and try to look from above at how the vil­lage looks “object­ively.” The point is, as Sla­voj said, to recog­nize that the two per­cep­tions of the ground plan are simply two mutu­ally exclus­ive endeav­ours to cope with this trau­matic ant­ag­on­ism, and they rep­res­ent an attempt by each group to heal this “wound” via the impos­i­tion of a bal­anced sym­bolic struc­ture cap­tured in their respect­ive ground plans.

Sim­il­arly, the nar­rat­ives about what is “mas­cu­line” and what is “fem­in­ine” are pre­cisely attempts at cop­ing with this kind of trau­matic ant­ag­on­ism by sta­ging it as a dif­fer­ence between two kinds of being. Which is why it is not enough to dis­miss “mas­culin­ity” and “fem­in­in­ity” as sym­bolic con­struc­tions (which they cer­tainly are), but one also has to recog­nize the real (the ant­ag­on­ism) that pro­pels, motiv­ates these con­struc­tions.'

11 April 2016

Text for Adam Cruces @ Galerie Joseph Tang

I wrote a text that has been included in Adam Cruces' solo show PASTEL, which opened on 17 March 2016 at Galerie Joseph Tang in Paris.

If you would like to read my text 'Pen, or, le stylo', please drop me a line and I'll send it through! EDIT: Exhibition pics and text available on Art Viewer!

The show runs through Saturday 23 April 2016, and has been called a 'must see' by Art Forum, so go check it out if you're in Paris!

Thanks to Adam for the invitation.

4 April 2016

Text for 'Real state' by Asta Meldal Lynge

London-based Danish artist Asta Meldal Lynge's first book Real state, published by Studio Operative, London (2016) is out now! Real state is designed in collaboration with Rory Gleeson, with text by Eleanor Ivory Weber.

Launched on Tuesday 8 March at a.m. in London, this Wednesday 6 April 2016 sees the Copenhagen launch, hosted by Motto at Kunsthal Charlottenborg. (Here is the Facebook event.)

There will be a screening/reading at 18:00 combining three moving image works by Asta Meldal Lynge - Camera Shake (2013), Site Seeing (2014), and Showhome (2015) - and a reading from excerpts of Real state texts by Eleanor Ivory Weber.

Real state
Asta Meldal Lynge
Text by Eleanor Ivory Weber
Design by Rory Gleeson with Asta Meldal Lynge
Published by Studio Operative
ISBN 978-0-9575223-6-7
216 x 279 mm, 128pp, softcover
RRP £22.00

From the press release: 'Real state is a visual essay that takes a critical stance towards the subjects of housing, urban development and image production. Employing video-stills, photographs and found images, it explores the social and political value of the image, in a specifically urban context, emphasising the fictions present in the (re)production of space.

[...] As the content is framed and re-framed, trackpad gestures are overlaid, ultimately bringing the stability of any image surface into question. This destabilising approach is mirrored in Weber’s text which combines excerpts from e-mail conversations, with differing registers of fiction, expanding on the disconnection between the idea of housing as a basic human need and it’s position within market logic and neoliberal ideology.

The title Real state alludes to the conditions of these systems, the power structures of governed entities and the business of real estate, while insinuating a difficult promise of something real or true to be revealed.'

For more information, and to order, click here: studio-operative.co.uk.

Book also available to purchase online at Antenne and Motto!

23 March 2016

SafARI - Internet Super Highway 2016

SafARI is the off-space or Artist-Run Initiative (ARI, hence the name) program timed to coincide with the opening weeks of the Biennale of Sydney, and aimed at showcasing the work of emerging and unrepresented artists. SafARI is hosted by independent Sydney venues and has a program of exhibitions, events, publications and online components.

I was invited to contribute something to the online program Internet Super Highway (ISH), organised by Kailana Sommer, Benjamin Forster, Jack Lanagan Dunbar and Emilia Batchelor.

ISH is a multi-faceted week-long program that runs twice over a fortnight, 14 - 27 March 2016, between the hours 21:00 - 09:00 AEST (that is, 11:00 - 23:00 CET).

The program includes amazing work by Australian artists including Lachlan Anthony, Elena Betros, Deborah Birch, Bonita Bub, Simonne Goran, Aurelia Guo, Megan Hanson, KK+JLD, Del Lumanta, Kate MacDonald, Rowan Oliver & Louise Dibben, Marnie Slater (NZ), Tosha Van Veenendaal, Emile Zile, and many more.

I selected some texts (by Michel Foucault, Keith Hart, Sarah Kane, Samo Tomšič) for download as part of 'Reading is free-ish' (Tuesdays 15 & 22 March), plus 'Tele ~ visions' (Sundays 20 & 27 March) includes a video recording of a reading I did in Sydney in 2014 as part of GOB fest.

You can download the full program here: http://www.ᔕᗅᖴᕱᖇᑊ.com/ISH/all/program.pdf

To access ISH (but only between 21:00 and 09:00 AEST, at all other times you will see the regular SafARI website), click:


18 March 2016

Quote of the day, yay!

"At the height of the Troubles, gay clubs were actually some of the only non-sectarian gathering spaces where Catholics and Protestants socially mingled without having to talk about it. Gay clubs and punk clubs — in the ’90s, it was raves. I guess middle-class areas have always been pretty neutral, and they still are today: art spaces and the university."

-- Mariah Garnett in conversation with Risa Puleo, BOMB Magazine, 3 March 2016

11 March 2016

General Fine Arts, Vol. 2, Issue 1

Finally, General Fine Arts, Vol. 2, Issue 1, published by Version House (Berlin) is online!

Edited by Tom Clark and themed "Values", this latest issue was launched on Tuesday 8 March 2016 at a.m. in London.

It features the work of: Adam Gallagher, Alexandra Symons Sutcliffe, Anna Zett, Beatrice Loft Schulz, Eleanor Ivory Weber, Imran Perretta, Jaakko Pallasvuo, John Hill, Josefine Wikström, Kalliope Maria Nagy, Karisa Senavitis and Kevin O’Neill, Malin Arnell, Kajsa Dahlberg, Johanna Gustavsson, Laura Guy and Fia-Stina Sandlund, Leila Kozma, Manuel Arturo Abreu, Marina Vishmidt, Martin Kohout, Nina Wakeford and Lily Keal, Owen G. Parry, Vincent Para, and William Kherbek.

I am chuffed to have an untitled text/polemic nicely placed between Nina Wakeford & Lily Keal and Jaakko Pallasvuo.

You can read it and everything else by clicking this link:


Many thanks to Tom.

25 January 2016

After the Eclipse V

This Thursday 28 January 2016 from 19:30 is the 5th After the Eclipse, a series of reading events initiated by Imri Kahn, Sarah M Harrison and Ebba Fransén Waldhör.

For number V, the speakers are:
Tommy Camerno, Natalie Häusler, Marlie Mul, Michael Runyan, Maria Votti, Eleanor Weber

Doors open @ 19:30 / Readings start @ 20:00 sharp

Am Flutgraben 3
12435 Berlin

I will be performing an excerpt from the work I’m really sorry to hear about your dead father, but there’s nothing we can do. Thanks to Imri for the invite :)

EDIT: Photo documentation :)
\\Older posts//