Untitled draft by Sylvat Aziz (2018). Pencil on light paper print. Image of the Mammari Buffer Zone. | Άτιτλο προσχέδιο της Sylvat Aziz (2018). Μολύβι σε ελαφριά εκτύπωση σε χαρτί. Εικόνα της Νεκρής Γραμμής, Μάμμαρι. This circle was initially conceived as a lecture entitled "Theodora's freedom: Notes on Foucault's governmentality, Haraway's 'staying with the trouble', and… Continue reading A circle on big and small transgressions, more or less illegal art, and other braving zones | Κύκλος για μεγάλες και μικρές παραβάσεις, περισσότερο ή λιγότερο παράνομη τέχνη, και άλλα braving zones.
What should be the ideal character and purpose of the First Device we give to our young? How would such a tool define humanity's future approach to technology, and to our world? How would it shape and direct the mind? What kind of information should it contain? Would it be primarily audiovisual, or holographic, or… Continue reading the First Device
(1) Notes on the Free/Libre Arts Unconference and TropicalBurn / The difference between me and a free person July 2019, Ixodos at A Casa Lar, Tijuca Forest, Rio de Janeiro Are YOU able to trust in a fully participatory format? / On the academy as capitalist enclosure (edu-factory). / On the (arts) academy as a… Continue reading Forest School writing: What did I think this was going to be, the revolution? On the Free/Libre Arts Unconference and TropicalBurn
29 July, 2019 Tineke called it soulwriting. We were talking about the trouble of caring too much about one's projects cum funding proposals. ________ You either trust in a fully participatory format or you don't. / On the academy as capitalist enclosure (edu-factory). / On the significance of deconstructing patterns of gathering and working that… Continue reading Forest School writing: What did I think this was going to be, the revolution? / A review of the Free/Libre Arts Unconference and TropicalBurn / The difference between me and a free person
reaphrodite.org/acasalar Here is collected information about A Casa Lar. I'm working to set up free/libre software infrastructure for A Casa Lar by Saturday-Sunday 29-30 June 2019, open days to which you are invited to participate. **A Casa Lar / The Home Houseis an artist space in the Tijuca Forest in Rio de Janeiro, managed by… Continue reading Ixodos at A Casa Lar
The following is written in response / review to the State of the Monument (Nov 20, 2018 organised by the Cultural Studies and Contemporary Arts Lab, European University, Cyprus) via Loizidou, C. (2014) Commemoration, Public art and Memorial Politics in Cyprus, 1901-2013 [thesis] If monuments are about asserting or compensating for insecure regimes, then I… Continue reading perhaps it’s the nihilism, OR “If I were to start over, I would have been researching public fountains”
Keep Calm and Carry on Monitoring the Media: A Review of Monitorial Citizen, NeMe (Cyprus), 9th December 2017, part of State Machines: Art, Work, and Identity in an Age of Planetary-Scale Computation. Published on Furtherfield, and Institute of Network Cultures. IN TOTO: 3 years in Tokyo by Simone Philippou http://cyprus.wiz-guide.com/index.php?pageaction=kat&modid=1&artid=1001 NIMAC: Drone Vision: Judgement Day,… Continue reading Reviews
These are the early stages of an online crush; https://www.youtube.com/watch?v=frDamZjCbkI of single-mindedly consuming someone's work in awe, in this case, of their mastery in designing online presence, the way they create an arena and then perform subtle subversions within it, with perfectly self-reflective / powerful politics that sync their visual style with their take on… Continue reading enamoured with gmcfosho’s meta-confrontational political exorcisms: youtube-lofi(?) animation-SWAG hip-hop-killing anonymous video art doesn’t need this text, but here it is anyway SPLASH
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