The Filatory: Compendium I. gnOme. 2016. ISBN-13: 978-1540567512. ISBN-10: 1540567516. 164pp. This collection marks new experimental domains for The Filatory, an unidentified circle that operates with the intent of concealment: re-creating the impulse of secret societies in an age of instant exposure to all kinds of thought. The specific offering found here is a joint effort […]
At 7pm one Saturday this September, I found myself in Downtown Brooklyn’s Metrotech Commons wearing a bright green frog hat and laughing heartily with a group of one hundred fellow “fools.” I was participating in a scene in “When I Left the House It Was Still Dark,” a performance by the collective Odyssey Works. While the spectacle was public, the scene and the other experiences that made up the performance were created for only one person. Once or twice a year, the directorial team behind Odyssey Works (for the most recent performance: Abraham Burickson, Ayden Grout, Jen Harmon, and Ariel Abrahams) selects a single “participant,” chosen through an extensive application process — which starts by asking questions that range from “What is your favorite color?” to “What is your biggest unlived dream in life?” to “Would you be willing to be blindfolded?” — to receive a weekend-long series of experiences engineered specifically for his or her individual tastes, history, and relationships to people and place. Employing family members and friends of the participant, a diverse group of artists, and the general public, Odyssey Works blurs the line between the “real” and the “performed” with its experimental and experiential work.
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In the recent days, two similar incidents were reported around the presidential residencies of France and the United States. On January 16, a small drone has been seen flying above the Élysée (French presidential palace), revealing a breach in the security of the complex, only two months after photographs of President Hollande inside the gardens were published, leaving the presidential staff clueless about whether these photos had been taken by a drone or not (the magazine denied using one). Two days ago, a similar incident occurred this time in the vicinity of the White House in Washington DC, when a 2×2-foot commercial drone crashed in its gardens. The spectacle of the American news channels exacerbated this almost non-event (it was candidly piloted by a drunk government worker) to the point that CNN anchor Wolf Pritzker suggested to set up the equivalent…
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Reject the evidence: with satellisation, the one who is satellised is not whom you might think. By the orbital inscription of a space object, the planet earth becomes a satellite, the terrestrial principle of reality becomes excentric, hyperreal and insignificant Continue reading
Today the world died. Or maybe yesterday, I don’t know.
That is the refrain in Hiroshi Sugimoto’s exhibit Aujourd’hui, le monde est mort (Lost Human Genetic Archive) presented at the Palais de Tokyo in Paris between April & September of this year. The work is structured as a series of “theatrical sets” [almost museum exhibits without vitrines] each depicting a unique apocalypse. Examples include destruction by comet, by nuclear warfare, by love for love dolls, by desire to become love dolls, & by slow environmental degradation [beginning with the death of bees]. These belong to 33 scenarios in total, each one narrated by a generic character from a group relevant to that particular end-hypothesis, looking like this:
They forewarn ruin & stretch possibility, though not imagination. What is arresting about them is precisely their likelihood, the fact that their seeds are already manifest in society today. Together, these scenes seem to be a…
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…in a section of the abandoned subways of Chicago, where three days’ meetings were held. The opening words, “Even though many have asked, it is not necessary for what we need to accomplish to divulge any information about our person. The impossibility to know any of the reasons motivating our actions, is in today’s world the only way to still be insane.”