Radical Formalism | Alan Ruiz
Family Circle (1992) | Dyke Action Machine
Formalism is a dirty word––a bad object––and perhaps this is what makes it such an exciting, yet slippery, site to engage. Plagued by universalist goals of purity, autonomy, self-reflexivity, and political indifference, formalism certainly seems bankrupt. Yet...
UNTITLED (LINES BODIES) | Juliana Huxtable
Dyke Action Machine, Family Circle, zine published 1992.
Digital Care | Tasha Bjelić
I HAD NOTHING TO SAY
WHILE TRYING TO GRAPPLE WITH SOMETHING THAT SEEMED SO OBVIOUS, OBTUSE, REDUNDANT.
Architecture of Influence: Thinking Through Craig Owens | Tom Burr
As a kid, I was comforted by somebody typing. A tingly sensation would ensue with specific cues, but I would only identify these triggers later on. The tingly sensation happened at the airport...
Spic in Ecdysis | A series by Xandra Ibarra
I’d like to describe a particular setting. By committing this setting to language, I’m hoping to allow it to produce its own enunciations, its own pronouncements, and announce its own limits. I want to get at something, through this setting, which has set the stage for the formation of my approach, of my work, my way of thinking.
BETWEEN THE GROUND AND THE SKY | Daniel Sander
Aren’t Latinidad and spichood similarly fucked—the fuckedness of always already being the same or of resemblance in repetition? Even when I attempt to reassemble new skin, sick of my spic casings, I remain destined to be crucified through them. I can only discard and abandon the carcass; I’m stuck. My new being through ecdysis remains within “the order of the same.”
The ideal rock & roll song is 3 minutes long | Rachel Ellis Neyra
In this paper, I consider works by three artists — Smithson, Roni Horn, and Felix González-Torres — as different, successive approaches to the non-human/inorganic in late modern and contemporary art. I think the displacement of the human measure of art from two related, but different perspectives.
You should have the body | Melissa Jordan
To be read aloud. In memoriam, José Muñoz and Terry Adkins.
1. The ideal rock and roll song is 3 minutes long, and I’m Listening for it like it’s living to listen for sensual disclosure.
Sexting girls: technological sovereignty and the digital | Julian Gill-Peterson
Three days ago, I heard this Latin translation – habeas corpus, you should have the body. It got me thinking about how impossible this sounds as an open statement, to "have the body," whether we are talking about our own body and forming it accordingly, or having another body (you should have).
Cynthia Oliver's BOOM! and Dean Moss’s johnbrown
The traffic in sexual images of girls hardly began with the advent of SMS picture messages. However, the coining of the term “sexting” (sex + texting) to refer to the trade in sexual images sent by mobile-phone users in recent years has reframed cultural anxieties over the economy of representation of the sexual girl.
An Interview with Artist, Pope. L | Rizvana Bradley
Dean Moss’s johnbrown and Cynthia Oliver’s BOOM! were staged in New York City in October 2014, the former at the Kitchen and the latter at New York Live Arts. We were both present at both of these performances, and, knowing that W&P would be publishing this special issue, we were struck by the significance of female youth and intergenerationality in both productions. We decided to have a conversation.
Ten Theses on Touch, or, Writing Touch | Hypatia Vourloumis
The idea for The Haptic issue of Women and Performance was inspired by a quote from an interview with the artist Pope. L, who once described his crawl works as having “this marvelous creamy nougat center operating inside the performer, and this space is unfortunately not available in images and mythologies that surround the work.”
On Making Haptic Drawings & Accordion Fold Books | Stephen Vincent
Touch 1. To write on touch is to recognize that one is touching and being touched.
In its seeking to philosophize the feel, to paraphrase Stefano Harney and Fred Moten on hapticality and love, this experimental exercise necessarily comes to understand itself as a performance of touching rather than a text about touching
Chronophilia/Chronophobia | Maryam Monalisa Gharavi
I listen to my now late mother breathing. She’s 93. She is taking an afternoon nap in her bedroom. I am in the "family room" making this haptic. The sounds of her breathing are projected over the speaker on the audio-surveillance system.
Chronophilia/Chronophobia emerged from a poem/script that I wrote blindfolded. It loosely experiments with surrealist automatic writing practices, the use and subversion of meditative ritual, histories of labor, and critical theories of the attention economy.