The West (2018) ContraPoints. She’s referencing Kwame Anthony Appiah (notes from earlier). An entertaining video highlighting contradictions that make up the definition of “the west”.

A young kid in the Sternberg Park children playground had a snake with her. She wore it around her shoulders and waist while walking around a water fountain. Kids swarmed around her but they soon got bored and continued with their games.


Youtube is my #1 source for marxist propaganda entertainment: What’s Wrong with Capitalism (Part 2) by ContraPoints.

My busker name is to be Thuomas EnBusker.

Tiny Tramp live at Void Bordeaux is a solid live gig documentation. He’s using cassette decks, spring reverbs and lo-fi microphones to build evolving dark ambient. There is singing and distortion too. I particularly enjoy (the digital?) artifacts which combine into random cheerful melodies.

Christianity the faith of a Zombie.

Re-reading Is a Museum a Factory? (2009) by Hito Steyerl. The idea that museum guests are laborers, working to make sense of exhibitions is appealing.

Today, cinematic politics are post-representational. They do not educate the crowd, but produce it. They articulate the crowd in space and in time. They submerge it in partial invisibility and then orchestrate their dispersion, movement, and reconfiguration. They organize the crowd without preaching to it. They replace the gaze of the bourgeois sovereign spectator of the white cube with the incomplete, obscured, fractured, and overwhelmed vision of the spectator-as-laborer.


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.