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Felix Gonzalez-Torres, "Untitled" (Key West), 1992

Photographer: Lance Brewer. Image courtesy of Andrea Rosen Gallery, New York.

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Felix Gonzales Torres, Untitled , (placebo) 1991 - candies, individually wrapped in silver cellophane, endless supply, ideal weight 500-600 kg, dimension variable

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Juliet Jacques: "Mark Fisher [...] wrote in 2010 that: 'It’s worth recollecting the peculiar logic that neoliberalism has imposed: treating people as if they’re intelligent is, we have been led to believe, ‘elitist’, but treating them as if they’re stupid is ‘democratic’. It should go without saying that this assault on cultural elitism has gone alongside the aggressive restoration of a material elite."

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mušḫuššu (𒈲𒍽

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"The cultural arena is a fantasy playground; its boundaries are porous and malleable, ever-changing. Nowadays, the gatekeepers use words like ‘dynamic’ ‘diverse’ ‘innovative’ to describe the art that they protect. The art world sells us a dream: that art is a public service and an unquestionably human good. But this public service must always be privately held and stewarded. Only individual artists with the purest creative intention thrive under this stewardship. This kind of artist is against: collective bargaining, comradeship, political protest, art as propaganda. They are for: ambivalence, aesthetic pleasure, individual exploration, feeling. In the cultural arena, the elites invest in making us believe the latter is where true beauty lies. Their intention is to make it harder and harder for us to understand how exactly this world works. An obedient art worker: never shares contracts, asks about pay, or working conditions – never enquires into the galleries’ stance on Palestine or points out the connections between its funders and ongoing violence."

– Lola Olufemi

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"The art world maintains its rarefied quality via the permanent exclusion of the poor. To assume art-making is a “labour of love” that does not require remuneration but demands one to sacrifice all sense of stability, is tantamount to proclaiming it a bourgeois fantasy. It is not that we should sacrifice ‘art’ to the logics of exchange, more that, in a world where our survival depends on the sale of our labour-power, why should drudgery be the only kind of work we are paid for? They make money precisely because we cannot afford to make work, because the conditions do not allow it. The rarefied nature of the art world is reproduced. Why should others profit from our exclusion? Art institutions are quick to adopt the language of crisis: budget cuts, staffing, reduced wages are necessary for their continued survival. Senior figureheads accrue wealth whilst the institution’s very existence depends on the most disregarded labour: cleaners, admin staff, assistants – many of whom we cannot even understand as artists. The canon of would-be-artists are the lifeblood of any institution. The immediate task is to steal and redistribute resources from existing institutions in order to return the right to make things to the poorest among us, to refuse to let them bleed us dry."

– Lola Olufemi

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Danny Hayward: "[The challenge is] how not to be a sovereign subject. ... And there isn't an answer. All of this is connected to damage and internal damage as well. How do you display the reality of being a damaged person? That's an everyday vocabulary that we are used to, to talk about ourselves. But how actually to represent this without collapsing again into a complete cliché about trauma is an unanswerable question in some way. It can only be answered in practice. So, I don't know, sometimes I think that if you're writing poetry and you want to answer that question and the task is to be a sort of collector of all of the places where that does happen right or a way that feels exciting to you, because that's not the norm. The norm is people trying to present themselves as real people, full people without gaps. Like, here I am, I bring my poems and I have some opinions which I can relate to you. But the task is to try and find the aberrant and non-homogenous examples where suddenly it becomes possible not to be that."

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„I think we traditionally conceive of access as a thing that has to do with transparency, like having to make things clear or to elucidate things in other idioms or modalities as acts of translation and clarification. I think I'm not interested in that. That might be the way that institutions relate to access but I think a lot, and it's not just me, I would say a lot of disabled folks, a lot of people in the disability arts community, are thinking about this deeply, which is: What is access? How can we recuperate it from institutional appropriation? I think one of the ways is to actually think about access in a collective way, as a way we come together and then also as a tool of fugitivity inside of institutions. So that access becomes like the work upstairs is a work that I think is perceivable by a wider audience than what is traditionally framed inside of museums. But I don't know if that means the work is any clearer if that makes sense. Something I've said in the past is that I think all museum goers, all spectators, all audiences, are entitled to the incoherence of art. Art should be incoherent for everybody including disabled people. The processes of access, the processes of translation—they don't need to be clear, they can be muddied, they can be complex.“

– Carolyn Lazard in conversation with Meg Onli about Lazard's exhibition The Long Take.

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Different works by Lygia Clark

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– aus Walter Benjamins Über den Begriff der Geschichte, geschrieben 1940, 1942 erstmals posthum veröffentlicht.

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Help Jade live her LIFE!

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A year ago

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guys everything that has been transpiring in north gaza is so insane that it truly boggles my mind how underreported it is. 8 days and counting of siege in north gaza that's killing hundreds of palestinians daily ("genocide within a genocide"), almost half a million people left with no food, water, or electricity, jabalia camp is literally being reduced to rubble as we speak, no signs of the bombing in lebanon abating with time, north gaza is utterly sealed off from the rest of gaza city, mass expulsion and starvation everywhere--and it's just getting worse. please don't be fooled that it's any better because people have chosen to stop caring. it's every bit as horrific as ever before