A conversation with artist David Horvitz about the standardization of time, space, and communication—and the ways in which we can resist and evade standardization by attending to the rhythms of our bodies (as well as the auditory landscapes of nineteenth-century villages).
A conversation devoted to the challenges posed to legal conceptions of images, objects, and data by emerging technologies.
In October 2015 I published “Chronicle of a Traveling Theory” in Mass Effect: Art and the Internet in the Twenty-First Century (MIT Press), edited by Lauren Cornell and Ed Halter. The essay discusses on how International Art English became a byword for the devolution of the language of criticism in the globalized, Internet-addled art world. On December 21, 2015, the […]
On July 21, 2015, I published “Don’t You Want to Have a Body?”—an essay on the fantasy of strong AI and the reality of chatbots, the soothing effects of stupid systems—in Triple Canopy, as part of It Speaks of Others, an issue devoted to smart and dumb objects. (An early version of this work was presented […]
On July 12, 2015, Triple Canopy presented Pattern Masters, a series of performances at the Whitney Museum of American by Lucy Raven, Jen Liu, and David Horvitz with Susie Ibarra. The event marked the debut of an issue of Triple Canopy devoted to standards and standardization, which relates to research I’ve been conducting as part of my 2013–15 fellowship at […]
In March 2015, Triple Canopy, Sternberg Press, and Tensta Konsthall published Headless, an exhilarating murder-mystery by the elusive K. D. I wrote the introduction to the novel, which probes the sordid secrets and sinister deeds of powerful financiers who use Caribbean firms to conceal their fortunes. (My introduction previously appeared in Triple Canopy as “Headless Commercial Thriller.”) […]
On February 6–8, 2015, Triple Canopy presented How Far Is Near, a series of conversations at Material Art Fair in Mexico City. The series considered the ways in which political representation might be achieved—or recognized as a chimera, or disavowed—through the work of representing politics, and focuses on the various responses by Mexican artists and writers to […]