(You don’t know how to ask a question or perhaps, I just don’t know how to answer.)
From 6 until 8 PM on Thursday, April 30, 2009, Mary Ellen Carroll was being David Joselit, Professor and Chair of the History of Art Department at Yale University. Joselit was the opening speaker for the conference/symposium “Our Literal Speed” in Chicago.
Recently, a friend turned me on to the Tibetan term shul. “Shul,” he wrote, “is used to describe the scarred hollow in the ground where a house once stood, the indention in the grass where an animal slept last night” or, as he put it, “...the debris from a performance as an impression of something that used to be, but is no longer there.”
In a neighborhood of Istanbul, which could be considered a suburb, children play a game in the streets. A rectangle is drawn on the pavement, and it’s known as “home.”
Exhibition is a temporary (six months) independent art initiative located in a vacant storefront at 211 Elizabeth street in New York. Exhibition offers an experimental and contradictory artistic and curatorial approach. Only a continuous single exhibition will be shown during this six months project.
Conversations About Iraq: It Is What It Is by British artist Jeremy Deller was a socially based political project presented this spring that provided participants access to “straight” information about Iraq through unscripted and impromptu conversations.
Survival Research Labs (SRL) is a mechanical performance group formed by Mark Pauline. Since the seventies, Mark has been making machines that rip and tear metal, meat and whatever else gets in their way. Machines are created from industrial leftovers—the tossed aside components of a previous era—and this dumpster fodder of yesteryear is reshaped and reused in an impressive display of civilian firepower.
The mosquitoes are so bad at Sarnath Temple, legend has it that after only one day the Buddha himself fled, swatting, scratching and screaming, “How can you guys meditate here with all of these bugs!” So, one needs little imagination to conclude that the monks who reside at the Temple must possess a fortitude of tranquility rare amongst the earth’s peoples.
The use of “aesthetics” and “terror” in the same sentence is more than disturbing. What is meant by each term, and how can they be linked?