Dyke Action Machine, Family Circle, zine published 1992.Read More
I HAD NOTHING TO SAY
WHILE TRYING TO GRAPPLE WITH SOMETHING THAT SEEMED SO OBVIOUS, OBTUSE, REDUNDANT.
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...Read More
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.Read More
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.”Read More
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.Read More
Interview with Antonio Viego, Conducted by Joshua Javier Guzmán September 19th 2013Read More
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.Read More
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).Read More
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.Read More
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.Read More
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.”Read More
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 touchingRead More
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.Read More
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.Read More
One of the problems with time-based endurance performances like my crawl works is they have this marvelous creamy nougat center operating inside the performer, and this space is unfortunately not available in the images and mythologies that surround the work. So, typically, the surface of the work becomes the life of the work.Read More