Jesse was selling his art at the Senaatintori open-air market during the summer. A tourist from USA asked if he could pay for an item with dollars. “People laugh at Americans who believe that they can pay for stuff using dollars in Europe. But Americans are right. I accepted his dollars with out hesitation!” He told me (Bitterness and revenge = Class awarenesses and success). He gave me the dollars so that I can use them in New York but I’m thinking about framing them.
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At first I thought that museums in Finland were interested in graffiti because it provides a simplified approach to postructuralism and the performativity of the public space: Everything is text. Top-down design of public spaces enforce normative behaviour. Artists are no longer geniuses, everybody must be granted the right to author public space etc.
But unfortunately it seems that museums are interested in graffiti-artist for very different reasons. They fit the role museums have reserved for artists of the past. Museums present them as avantgarde underdogs fighting for our right to express ourselves. Justice warriors without economical interests, emitting pure creativity. The first approach was oversimplified but the latter is offensive.
How Facebook Is Killing Comedy (2018) Sarah Aswell.
The other solution, which seems crazy, is for there to be a meta organizing campaign, where media companies band together and refuse to post on Facebook, essentially going on strike and withholding their labor until they are compensated. These media companies need leverage against this massive entity that is eating their lunch. That’s the labor problem.
There’s a reason that Mad magazine looks different from Vanity Fair. They need to convey a different aesthetic and a different tone for their content to really pop. Facebook is the great de-contextualizer.
20180207
My biggest concern about the normalization of sex-robots is that capitalist will use them to provide the labor-force with ad-hoc emotional and sexual companionship, at the same time they’re advancing working conditions which make long-term human-to-human relationships difficult to arrange and maintain. A dystopia where AI’s serve capitalist interests is portrayed in the Blade Runner 2049 film. The protagonist K condones humiliating working conditions thanks to the loving support of his AI hologram girlfriend Joi. K is motivated to work so that he can afford to upgrade her with a piece of tech that will allow her to move outside their house. Joi’s character can be read as criticism of processes which seek to commodify feminist movements. The device she uses to move outside (or project herself outside) looks like a futuristic ipod nano.
It’s not freedom if you need to buy something to achieve it #ॐ
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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.