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Pinko in Portland

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I was in residence at Institute for American Art in Portland Maine for two weeks in August working on and performing a piece called Pinko.

 

I made lonely dances, wrote love letters to Marx, planned meetings, and sang songs:

Dear Marx,

I was in a graduate school seminar where we read all of your Grundrisse notebooks.  Towards the end of the seminar, with about two weeks left in the semester, the professor, José Esteban Muñoz, suddenly died.  In a paper I presented in class I quoted letters you sent to Engles and Lasalle while you were working on Grundrisse about how you often felt too sick to write. In the weeks before he died, when none of us knew he was going to die, José sat in front of the class rocking back and forth giving meandering lectures on what we had read, occasionally pausing mid-phrase to gulp down some water from a large plastic SmartWater bottle or say a cutting aside about a text, an artist, a world.  He loved talking about your writing formally—about the semiotic labor of attempting to represent capitalist systems so as to encounter other potentially less violent ways of life.

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Afterwords

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I’ve been working with some poems to find some songs for the past few years. I’m ready to release them/be released by them. They are dear songs, near songs, first songs, loss songs, lost songs. The words are not mine. Perhaps they’ll offer you something. You can download them for free:

here 

and 

here

 

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“How to Live Together” at Abrons Arts Center

I’ll be teaching a course at Abrons Arts Center in April of 2016.

Barthes cats


How to Live Together (A Pedagogical Reenactment)
April 6, 13, 20
Wednesdays | 7 – 9 PM
3 Sessions | $130 |  RegisterIn 1976, French cultural critic and semiotician, Roland Barthes taught his first seminar at the Collège de France entitled How to Live Together. This course will reenact and reimagine Barthes’s seminar by using Barthes’s recently translated and published lecture notes as a syllabus and score. Over three sessions participants will read Barthes’s notes together, wonder about the concepts and concerns that fantasies of communal living bring to the fore, and take Barthes’s work as a formal and conceptual model for our own experimental critical writing about the question of “how to live together.”
Artist: Ethan Philbrick
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Writing on Gordon Hall’s STAND AND in PAJ

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Last fall I had the pleasure of going to one of Gordon Hall‘s performances (in collaboration with lots of lovely people). I felt/thought lots of things and decided to write with it. PAJ was kind enough to publish it.

“The performers moved through the court as if cruising for a provisional formal relation rather than a trick: cruising for a line, a shape, an object, a wall, a body, relation, an arrangement.”

PAJ_Leaning, Carrying, Standing: Gordon Hall and the Politics of Form

Gordon Hall, STAND AND
Wood, hand-dyed fabric, pigmented joint compound, mosaic,
and off-site performance
Performers: Chris Domenick, Ariel Goldberg, Gordon Hall, Andrew Kachel,
Millie Kapp, Colin Self, Orlando Tirado
Performance duration 60 min. Sculpture dimensions: 66 x 36 x 77 in.
2014

Part of the exhibition FLEX at Kent Fine Art, curated by Orlando Tirado
September 5-October 31, 2014
Performance took place on October 25th 2014, 2-3pm at the handball court
in Chelsea Park, New York

Image credit: Amy Mills

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