pretend to be me in my ask and ill rate its accuracy /10
Generally, I am not a formalist. I find formalism too conservative politically. It’s not radical; it is not engaging with politics, with equity or economics. A lot of it doesn’t seem to be engaged with sustainability. And when an architect takes those things off the table, it means that he or she - as a public intellectual - is accepting the status quo. I think that if we become formalists - just manipulators of form - we will become completely irrelevant. [..] Therefore, this so-called radical architecture we’re discussing is extremely conservative in almost every way, except maybe in form.
— Thomas Fisher, mark-magazine nr.32
Prolonged, indiscriminate reviewing of books… involves… constantly inventing reactions towards books about which one has no spontaneous feeling whatsoever.
— George Orwell, “Confessions of a Book Reviewer”
The institutionalization of Duchamp’s negation of artistic competence with the readymade transformed that negation into a supreme affirmation of the omnipotence of the artistic gaze and its limitless incorporative power. It opened the way for the artistic conceptualization — and commodification — of everything. As Bürger wrote as early as 1974, ‘If an artist today signs a stove pipe and exhibits it, that artist certainly does not denounce the art market but adapts to it. Such adaptation does not eradicate the idea of individual creativity, it affirms it, and the reason is the failure of the avant-gard[e].’
— Andrea Fraser, From the Critique of Institutions to an Institution of Critique, 2005
One of the main problems relates back to assumptions of what working environments should be like: studio-like working environments were originally the desire of the student, but have concretized themselves over the last fifteen years into the rule rather than the option.
— Liam Gillick, Denial & Function
'I will read [erotic literature],' she said. 'But I don't want you to choose anything that has men inside women, quote-quote, or men entering women. “I entered her.” “He entered me.” We're not lobbies or elevators.'
— Don DeLillo, White Noise
We love contradiction and paradox. Giorgio Agamben and other theorists who we really love tend to define things from their paradox—everything comes down to it. And there’s another piece in the middle [of the gallery] that’s a loose sculpture with branches and an open paper book. Within the piece is the sentence “The line that runs through the middle of each of us is beginning to itch,” which is a note about the internalization of power and oppression: There’s no exploiter and exploited, oppressor and oppressed anymore—there are no clear divisions because they’re both contained within us. We are our own worker and our own managers, especially as artists.