There is always a fine line when it comes to reintroducing practices that are considered “complicated,” “fragile,” and “special.” Finding the right moment and the right representation, especially when it comes to a practice that lived in the moment and refused to be historicized, is, to say the least, challenging. Reza Abdoh, a once celebrated theater maker of Iranian descent, is one of those cases.
The garage itself is a blank canvas of sorts, a kind of haptic architecture waiting to amplify its users’ projections. The ability to garageify space is best highlighted by Steve Jobs, who was known for his ability to distort reality. In this way the garage also teaches its users how to garageify other spaces, and the devices created within, mythologically born from the space, perpetuate this reality distortion.
Daria Martin’s A Hunger Artist, presented at London’s Maureen Paley, adapts Kafka’s text to redouble on its psychoanalytic tendencies, reinstating the structural punch line: the panther.
Mousse 65: Out Now
For Kuchar, the brutal banality of the everyday bucolic, the scatological, dances with its anti-counterpart, the celestial, in a lifetime project of understanding through his own manic vehicularity.