Journal

Portrait Lu Yang, The Universe Is On Fire by Harry Burke

“Floating in a purplish, cloudy outer space, the avatar undergoes stereotaxy, a high-tech form of minimally incisive brain surgery, which gives her the consciousness and form of a god. But as the body’s audacious mutability is revealed, so is its fragility: the artist succumbs to death, and is whisked to the afterlife in an ornate, dust-churning hearse. A cartwheeling, distorted sound track by DJ Cavia666 escorts the video to its end…”

This text appears in Spike #58. You can buy it in Spike online shop.

How the military, a marathoner, and the relentless march of capitalism turned protein bars into an unlikely American staple.

Two cofounders of the algae-bar start-up Nonfood, artist Sean Raspet and writer Lucy Chinen, tell me that they see the protein-bar format as a way to introduce consumers to algae as an ecologically sustainable staple food.“In some of the ideas we had, when we were doing five things that were new, it got to be so people wouldn’t know what to do with it,” says Raspet, who worked as a flavorist for the notorious liquid-meal start-up Soylent before starting Nonfood. Read more on Topic.com.

The Making of Rhizome’s Net Art Anthology: Petra Cortright’s VVEBCAM

Just as Cortright used the default effects that came with her camera, she also treated YouTube metadata as a readymade. She copied a string of terms often used by spam accounts on the platform, which were designed to draw in viewers who were trawling for titillating or offensive material, and pasted it into the keyword field for her own video. This led to numerous angry and confused commenters, with whom Cortright often engaged in all-out flame wars. Read more on Google Art and Culture.

Die Hölle brennt in Eiseskälte

Mit drei Ausstellungen ist Bunny Rogers in ihrer Heimat USA bekannt geworden, darin beschäftigte sie sich mit dem Columbine-Schulmassaker von 1999, die Künstlerin war zu diesem Zeitpunkt Mitte 20. Jetzt ist sie ein paar Jahre älter, derzeit Gastprofessorin an der Städelschule und hat für den besonderen Ort Zollamt des Museums für Moderne Kunst eine Installation erarbeitet, in der es zum ersten Mal überhaupt nicht um Columbine geht, wie sie selbst sagt. Read in German on Frankfurter Rundschau.

Reales und Fiktion mischen sich immer mehr

Puh, das muss man erst mal ver­dau­en, was Bun­ny Ro­gers meint: Die Er­in­ne­rung an den Lie­b­lings­zei­chen­trick­film ist ge­n­au­so real wie die Er­in­ne­rung an ei­nen to­ten, ge­lieb­ten Men­schen. Ist der To­te et­wa nicht per­sön­li­cher? Read in German on Main-Echo.

Timur Si-Qin: Forgiving Change, 2018 at High Line, New York

Timur Si-Qin (b. 1984, Berlin, Germany) creates artwork that posits advertising and commercial marketing as a result and extension of biology. Across his practice, Si-Qin works to combat essentialism—whether in branding, language, or nature itself. He often builds seemingly organic environments whose underlying industrial structures can be easily seen, thus calling into question the things we take for granted as “natural” or “unnatural.” For the High Line, Si-Qin presents Forgiving Change, aluminum casts of a burned tree branch from Pepperwood Preserve, which was the site of one of the many forest fires that crossed the west coast of North America in 2017.