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... happy
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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.
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 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.
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.
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.”
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