Helen Johnson, ‘Social Medium: Artists Writing, 2000–2015′
September 15, 2016
Social Medium: Artists Writing 2000-2015Social Medium: Artists Writing 2000-2015

Published by Paper Monument, edited by Jennifer Liese

Paper Monument is pleased to announce the publication of Social Medium: Artists Writing, 2000–2015, the first major anthology of 21st-century artist writing, including seventy-five groundbreaking texts by artist-writers from around the world. The book will debut October 20, 2016 with an evening of readings and performance at The Kitchen in New York. Preview copies will be available at the New York Art Book Fair.

Since the turn of the millennium, artists have been writing, and circulating their writing, like never before. The works gathered here—essays, criticism, manifestos, fiction, diaries, scripts, blog posts, even tweets—chart a complex era in the art world and the world at large, weighing in on the exigencies of our times in unexpected and inventive ways. Editor Jennifer Liese (director of the Writing Center at Rhode Island School of Design, former managing editor of Artforum) provides an introduction and a clear structure for understanding the contributions of key figures such as Jimmie Durham, Hito Steyerl, Mike Kelley, Adam Pendleton, Ai Weiwei, Raqs Media Collective, Frances Stark, and Tania Bruguera.

With contributions by: Greg Allen, Rasheed Araeen, Tauba Auerbach, Fia Backström, Fiona Banner, Bill Beckley, Caroline Bergvall, Bernadette Corporation, Xu Bing, Gregg Bordowitz, James Bridle, Bruce High Quality Foundation, Tania Bruguera, Paul Chan, Mel Chin, Molly Crabapple, Critical Art Ensemble, Moyra Davey, Tacita Dean, David Diao, Jimmie Durham, Shannon Ebner, Harrell Fletcher, Andrea Fraser, Coco Fusco, Rainer Ganahl, Ryan Gander, Mariam Ghani, Renée Green, Deanna Havas, Pablo Helguera, Karl Holmqvist, Ashley Hunt, Juliana Huxtable, Emily Jacir, Helen Johnson, Ronald Jones, Nina Katchadourian, Mike Kelley, John Kelsey, Jutta Koether, Glenn Ligon, Yve Lomax, LTTR, Jill Magid, Josiah McElheny, John Miller, Naeem Mohaiemen, Nástio Mosquito, Takashi Murakami, Jayson Musson, Olu Oguibe, Marisa Olson, Şener Özmen, Katrina Palmer, Adam Pendleton, Mai-Thu Perret, Adrian Piper, Pope.L, Seth Price, Raqs Media Collective, Lili Reynaud-Dewar, Kay Rosen, Peter Rostovsky/David Geers, Natascha Sadr Haghighian, Mira Schor, Karin Schneider and Nicolás Guagnini, Michael Schwab, Gregory Sholette, Slavs and Tatars, Cally Spooner, Frances Stark, Hito Steyerl, Koki Tanaka, Ryan Trecartin, Suzanne Treister, Dmitry Vilensky, W.A.G.E., Mary Walling Blackburn, Ai Weiwei, The Yes Men, Young-Hae Chang Heavy Industries, and Qiu Zhijie.

Body by Body, Princess?
August 5, 2016

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Hermes is the guide into the underworld via communication and interpretation (and creation) of symbols. Jesus, while not himself a “block” to the underworld, is definitely utilized as a block by the church, as a kind of controlled demolition of the entrance to the underworld. The myth that dies/is buried, along with the idea of reincarnation, wherever Christianity went is that earth is hell or rather an odd purgatorial realm with more below and more above. Jesus’ teachings (if heeded) allows one to be social in an ever expanding, ever globalizing, ever hostile world. Hermes allows one to do the same but in the “unseen” world. It sounds like you are already in the narthex, why not relax and stroll about for a bit? (…)
The society of the spectacle is simply a hazy affirmation that politics and materialism are merely chapters in the history of religion, not a new phase of history proper, rather a brief forgetting of what history and religion is, what it’s capable of and how one “finds” (and uses) it. -zummi

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