Heartbreaking Duplicity: Documenta 14 // Learning From Athens

Banu Cennetog˘lu, BEINGSAFEISSCARY, 2017, various materials, Friedrichsplatz, Kassel, documenta 14. Photo: Roman März.

The following article was originally published by The Seen in September, 2017. In a sense, the Western World presumes to be (always) learning from Athens, espousing Ancient Greece as its point of origin and thereafter presuming a complex blend of familiarity, ownership, and admiration…. +

Joan Jonas: A Fickle Trickster Screen

Joan Jonas. Song Delay film still, 1973. 16 mm film, black-and-white, sound; 18 minutes 35 seconds. Camera: Robert Fiore. © Joan Jonas.

The following article was originally published by Art21 in August, 2017. For more than four decades, Joan Jonas’s interest in producing, emphasizing, and manipulating space and sound has remained constant in her practice. A 1972 article by Janelle Reiring in The Drama Review describes one of… +

Bettina Pousttchi // The Shifting Politics Of Material Perception

Bettina Pousttchi, Echo, 2009–2010. 970 paper posters on the facade of Temporäre Kunsthalle Berlin. 11 x 20 57 m / 36 x 66 x 187 ft. Courtesy the artist and Buchmann Galerie.

The following interview was originally published by The Seen in May, 2017. Based in Berlin, German artist Bettina Pousttchi is known for her work in sculpture and photography, teasing out the politics of perception, particularly as it emerges through institutionalized structures—whether the exterior of… +

Strangers Among Us

Astrophil Press and Editor Duncan Barlow published a long-form version of my cat essay, The Strangers Among Us in 2017. Find it here. There was a nice write up in Cleaver Magazine that compares the text to Eileen Myles’ dog memoir, Afterglow. “In two recent books, by… +