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.
A linear playing field composed of abstract geometric shapes rendered in an expanded liturgical palette (its anterior accented with a callipygous form in a light flesh tone), Playing above the snake line covers the entire far stretch of ground on the institution’s roof garden before pressing itself up the garden’s wall.