The Russian-born artist Marina Pinsky (b. 1986) talks with Californian Buck Ellison (b. 1987) about their respective work practices, the overabundance of image production in the world, and the meaning of "political art."
The book Utopia/Dystopia is a companion to the curatorial project by the same title that opened at Lisbon’s MAAT – Museum of Art, Architecture and Technology. It is not exactly an exhibition catalogue, but rather a reader containing previously unpublished essays on the ongoing transition from the five-hundred-year old literary notion of utopia, toward the pervasive, everyday imposition of its mirror image: dystopia.
Legend of the Necessary Dreamer is new book by Maria Fusco written on-site in Palácio Pombal, Lisbon. The book is: a novella; a prose essay; an excavation of the historic Palácio Pombal; a work of impatience and death. Chris Kraus describes it as “a new classic of female philosophical fiction”
I’ve chosen to focus primarily on works Kogelnik produced in the 1960s and 1970s. I find her preoccupation with technology, new materials, and body politics during that period way ahead of its time. I became really fascinated with her cyborgian works, such as Plug-in Hand (ca. 1967) and Human Spare Part (ca. 1968), both polyurethane hand sculptures with technologies embedded—a telephone handle and an electrical plug—as well as the vinyl Hangings, which allude to a future where bodies can be taken on and off.
Choke points and clogs are where systems cease to be ambient. The fatigue between input and output, or the waste that escapes its joints, can contour the exchanges, scripts, connections, and scale of apparatuses that typically recede beneath attention.