lignedefuite:

What history grasps in an event is the way it’s actu​alized in particular circumstances; the event’s becoming is beyond the scope of history. History isn’t experimental, it’s just the set of more or less negative preconditions that make it possible to experi​ment with something beyond history. Without history the experi​mentation would remain indeterminate, lacking any initial condi​tions, but experimentation isn’t historical … history amounts only the set of preconditions, however recent, that one leaves behind in order to “become,”  that is, to create something new.

Gilles Deleuze, Control and Becoming

(via transphenomenality)


pop-up-x: “ Johannes Wald - physical body / ephemeral skin, 2015 200 × 300 × 80 cm ”

pop-up-x:

Johannes Wald - physical body / ephemeral skin, 2015

200 × 300 × 80 cm

(Source: artsy.net, via pop-up-x)


gildadavidian: “ Theresa Hak Kyung Cha, Passages/Paysages In 1976 Cha wrote, “The main body of my work is with language, looking for the roots of language before it is born on the tip of the tongue. Since having been forced to learn languages more...

gildadavidian:

Theresa Hak Kyung Cha, Passages/Paysages

In 1976 Cha wrote, “The main body of my work is with language, looking for the roots of language before it is born on the tip of the tongue. Since having been forced to learn languages more ‘consciously’ at a later age, there has existed a different perception and orientation toward language. Certain areas that continue to hold interest for me are: grammatical structures of a language, syntax, how words and meaning are constructed in the language system itself, by function or usage, and how transformation is brought about through manipulation, process as changing the syntax, isolation, removing from context, repetition, and reduction to minimal units.

IMAGE SOURCE


standingatthefence:

Theresa Hak Kyung Cha |  Pause Still (80 Langton Street, SF, CA),

June 1978-May 1979


objectsource: “Wodiczko Krzystzof, Linia jako teoria, obiekt, rzeczywistość, wizerunek, 1975 ”

objectsource:

Wodiczko Krzystzof, Linia jako teoria, obiekt, rzeczywistość, wizerunek, 1975


rereresearch-blog: “Imagine a City Below by Night, Otto Piene from the Sky Art Portfolio, 1969 ”

rereresearch-blog:

Imagine a City Below by Night, Otto Piene from the Sky Art Portfolio, 1969


ruiard: “ Richard Serra - Silence (for John Cage) Forged steel, one slab, 16 in. × 29 ft. 6 in. × 9 ft. 2 in. / 40.6 cm × 9 m × 2.8 m, 2015 ”

ruiard:

Richard Serra - Silence (for John Cage)

Forged steel, one slab, 16 in. × 29 ft. 6 in. × 9 ft. 2 in. / 40.6 cm × 9 m × 2.8 m, 2015 


Only microfascism provides an answer to the global question: Why does desire desire its own repression, how can it desire its own repression? The masses certainly do not passively submit to power; nor do they “want” to be repressed, in a kind of masochistic hysteria; nor are they tricked by an ideological lure. Desire is never separable from complex assemblages that necessarily tie into molecular levels, from microformations already shaping postures, attitudes, perceptions, expectations, semiotic systems, etc. Desire is never an undifferentiated instinctual energy, but itself results from a highly developed, engineered setup rich in interactions: a whole supple segmentarity that processes molecular energies and potentially gives desire a fascist determination. Leftist organizations will not be the last to secrete microfascisms. It’s too easy to be antifascist on the molar level, and not even see the fascist inside you, the fascist you yourself sustain and nourish and cherish with molecules both personal and collective.
Gilles Deleuze & Felix Guattari, 1933: Micropolitics And Segmentarity
(via tiqqun)

novaub313: “Trisha Brown, Group Primary Accumulation, 1973… ”

novaub313:

Trisha Brown, Group Primary Accumulation, 1973…


(via trapdoortapes-deactivated201906)


balsam-active: “OSWALD WEINER, OTTO MUEHL, GUNTER BRUS [Kunst und Revolution, 1968] - Universität Wien, Neues Institutsgebäude, Hörsaal 1, Wien, Universitätsstraße 7 (Art and Revolution, University of Vienna, New Institute Building, Lecture Room 1,...

balsam-active:

OSWALD WEINER, OTTO MUEHL, GUNTER BRUS [Kunst und Revolution, 1968] - Universität Wien, Neues Institutsgebäude, Hörsaal 1, Wien, Universitätsstraße 7 (Art and Revolution, University of Vienna, New Institute Building, Lecture Room 1, Vienna, University Road 7), July 6, 1968] - Photos: SIEGFRIED KLEIN. [DN-KR]


suobscenidad:

Just Before Taking Decision 1978-11-14    

Waclaw Ropiecki, Poland


bustakay: “Notes on libidinal materialism in Nick Land’s The Thirst for Annihilation. ”

bustakay:

Notes on libidinal materialism in Nick Land’s The Thirst for Annihilation.


adambeachofficial: “ Conversation I (2005), Araya Rasdjarmrearnsook ”

adambeachofficial:

Conversation I (2005),

Araya Rasdjarmrearnsook

(via point-counterpoint-blog)


tom-isaacs: “ Something Akin to Living - Sherman Fleming (aka RodForce) “ In this performance RodForce, naked except for a large, silver-lamé-covered phallus, positioned himself in a spotlight between a pair of Doric columns in his friend Wayne...

tom-isaacs:

Something Akin to Living - Sherman Fleming (aka RodForce)

In this performance RodForce, naked except for a large, silver-lamé-covered phallus, positioned himself in a spotlight between a pair of Doric columns in his friend Wayne Higg’s studio gallery. Pieces of wood were measured and cut to fit at various angles between the artist’s body and the columns. Standing immobile for the performance duration of 35 minutes, RodForce struggled to support this awkward and imprisoning edifice until he could no longer sustain the strain and simply walked off, leaving the structure to fall to the ground.

From The Artist’s Body edited by Tracey Warr



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