This is part of the shift from artist as singular producer to critical making as networked assemblage, as nodes in a longer process of composing.
Notes taken while on residency with Amy Suo WU at Motel Spatie; Arnhem Presikhaaf 2020 January-February
“I’m an infrastructure genius”.
— from a post on the subreddit for fans of Death Stranding
We attempted to put what was urgent into practice, the act of care, friendship, rest and solidarity […]
This text was first published in the 76th issue of Fong Fo monthly, May 2019.
* HKD $466,266 (approximately USD $60,000) is the total cost—including booth fees, art work shipping, labour, lighting, installation, etc.—reported by one Beijing gallerist to participate in ArtBasel HK 2017.
“Circulation is not a result of keeping the work moving but because we move with and against it.”
梁芝蘭《東西在循環》，原文由Open File 出版，2012年，英國，http://openfile.org.uk/archive/gil-leung-things-are-circulating/。
Originally published in Kaifong Stories (2015), republished on Medium.com with minor edits by LEE Chunfung to commemorate the passing of SZETO Siu-Mei (1935-2020).
Kana shodo (translating as 'woman's hand') is a Japanese script parallel to 女書 nvshu but native to Japan.
A notepad is collaboratively administered by Elaine W. Ho, Fotini Lazaridou-Hatzigoga and Isabelle Sully, hosted on the server of disroot.org.
The South China Morning Post posted two unrelated articles in their China Society section on the 7th of June, 2017, both unusual tales […]
“Tactics and Poetics of Invisibility”
A a RADIO the ACTIVE – SINK and the SWIM Eleonore Project 2016 Summer Residency
3-5 August 2016, 00: 00-01: 30 nightly
F fashion is not only a kind of appearance or, an inner, popular may not be suitable for you, but according to their own characteristics to dress up yourself, you belong to that kind, mature, lady, or simple and natural, or pure, or movement, a fact that can all be fashionable.
“The Shanzhai Lyric” by Ming LIN and Alexandra TATARSKY originally published in The New Inquiry, 2015.
If affect now also moves as a series of interconnected nodes in a inextricably capitalist infrastructure, does the ‘romance’ of a hand-to-hand remain only a complicit minor, or is it also possible to ‘ethically’ lay (larger societal) effects aside, become more aware of unintentionally superimposing growth or impact expectations on things where value might rather be found in subjective-collective experience, and functioning as an experiment? Is it still possible to discuss experience?
[excerpted from “In the Name of Love”，Jacobin，January 2014]