By Eunsong Kim & Gelare Khoshgozaran

Surveill, Aestheticize, Rationalize, Ignore: The Light & The Formula

Under the neoliberal police state, U.S. acts of protest often proceed like a performance: a permit from the city officials required for large groups to march the street, the mapped out and agreed upon distance, the weight of returning home to continue with other daily chores. While a group of established artists and writers have…

WILDING Continued: a Conversation with Aria Dean

Too often radical debates become reduced, or settled with representational politics. Without dismissing the severity and damage that the lack of representation means to communities under siege (as we are intimately invested in the stakes of representation here), we’ve increasingly become interested in expanding the horizon beyond representation, canon-interruption, and inclusion.   In The Reorder…

An Interview with Legacy Russell: Wandering/ WILDING

When the presence of Black bodies is policed, and the movement of racialized bodies surveilled and criminalized, what does a Black flaneur aesthetics look like? Is wandering a derailing from the constrained roles situated by contemporary art? In Mounting Frustration: The Museum in the Age of Black Power, Susan Cahan writes that the professional categories…

We Write Because of You and We Write for You

This space will continue to remain unconditionally committed to the artistic visions of vulnerable communities. Women of color, undocumented persons, marginalized genders, marginalized communities, those living with disabilities, the poor, the refugee, the FOREVER emerging–we write because of you and we write for you.

Title TBD [Part I]

There’s this ancient, trite and ongoing notion that art/poetry is for the good. The good of the people, the good of the country, the good of progress (who the people are, for which countries, what good: these are side conversations brought forth by pessimists and unbelievers). For this reason, Artists and Writers do good by…

Title TBD [Part II]

Part 2 When we think about Cauleen Smith and our Los Angeles-San Diego-Chicago connecting Skype call, we remember that we would have probably all been sitting somewhere having coffee and chatting, had things “turned out” a different way. We remember that we could have had Cauleen in Southern California as an artist and as a…

Editorial Note to Feature #2

Our second feature is one effort to undo the rationale of permanent collections. The majority of permanent museums’ collections are categorized by region and attributed to their mysterious donors, whereas the rest of the museum’s exhibitions are often curated “conceptually” and/or chronologically and/or under the banner of aesthetic movements. One could easily make an argument that area studies, and colonial geographies situate the collection development logic of the museum. Let’s tear this apart.   We asked writers and artists to create a “petty materialist” “fuck this origin” “did you know about this other provenance” guide to a collection. Or to…

Politics as Currency and the Souvenirs of War: Reflections on Rijin Sahakian’s Statement on the Closing of Sada for Iraqi Art

Along with each feature, we wish to introduce contemptorary artists, writers, interventions, and interruptions that intrigue and inspire us. For our first feature, we picked Rijin Sahakian’s statement ”On the Closing of Sada for Iraqi Art.” We both thought it was the most urgent piece of writing we had interacted with in the past year. We highly encourage our readers to read her statement in full, as it is going to provide much necessary context for the conversation that follows.   In the statement, Sahakian describes the process of building Sada, and her decision to close the organization in 2015:…