Threw a spontaneous gig with a Po-12 and a Po-16 during the weekend for a birthday crowd. My efforts were received surprisingly well. Bought a Bastl Kastl 1.5 kit.
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Autogynephilia (2018) ContraPoints.
KANYE WEST STYLE (2017) Mark Angel Comedy / Episode 133
Kanye West has killed me ooooh..
A very heavy text looking back at a curatorial project Jussi Koitela organized: Politics as Art against the Art of Economics; Reflections on the Skills of Economy Sessions (2018) Georgios Papadopoulos. It’s great that Jussi got a detailed conclusion for the project but the text feels like a monument. It says nice things in a very complicated way.
Art is not constrained by the limits of theory or language in its efforts to account for the unrepresented elements of reality through aesthetic interventions, so artistic critique can create frictions in the circulation of ideology and ruptures in the layer of meaning that is superimposed on the world by it.
Contrary to most mainstream curatorial activity, which, whether intentionally or not, tends to produce the artist as a commodity, the Skills of Economy Sessions attempted, and partly succeeded, in highlighting the grip of economic ideology on artistic practice, challenging the shared perception of the curator as a collaborator or even an apologist for the market.
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Counter bodyweight training session I guided for HULLABALOO Club at NPTurku Festival.
Data is the new lifeblood of capitalism – don’t hand corporate America control (2018) Ben Tarnoff.
Letting capital run wild across the globe hasn’t exactly produced the best of all possible worlds. It’s strange to think that letting data do the same would yield a different result.
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Discussion with Timothy Morton Being Ecological (2018). At 27min mr. Morton gives a nice solution on how to approach fake news: When news claim to speak the truth they are fake, because news are not about truths. News tolerate ambiguity… Different accounts of an event don’t cancel each other out.
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“Craft as class warfare”: Against craft (2018) Cennydd Bowles
Calling yourself a craftsperson affords status. Craft bespeaks skill and autonomy. In the face of creeping automation, a craftsperson is sovereign and irreplaceable. No mere production worker, labour to be organised – she chooses how the work should be done, which of course helps to justify her fees.
Deb Chachra’s piece Why I Am Not a Maker nails the negative connotations that surround making, craft’s central activity: its implied gendering, its conviction that the only valuable human activity is the production of capitalist goods. A shot of undiluted Californian Ideology.
Craft underpins how we dress and even behave. It’s easy to see where this leads: these identity performances become acts of gatekeeping.
Craftspeople generally aren’t renowned multidisciplinarians: sadly, some believe their expertise separates them from less capable people.
Why I Am Not a Maker (2015) Deb Chachra.
Describing oneself as a maker—regardless of what one actually or mostly does—is a way of accruing to oneself the gendered, capitalist benefits of being a person who makes products.
A quote often attributed to Gloria Steinem says: “We’ve begun to raise daughters more like sons… but few have the courage to raise our sons more like our daughters.” Maker culture, with its goal to get everyone access to the traditionally male domain of making, has focused on the first.