Julieta Aranda, Brian Kuan Wood, Anton VidokleEditorial
Franco Berardi BifoEmancipation of the Sign: Poetry and Finance During the Twentieth Century
Money and language have something in common: they are nothing and yet they move everything. They are nothing but symbols, conventions, flatus vocis, but they have the power to persuade human beings to act, to work, and to transform physical things.
Jodi DeanDemocracy: A Knot of Hope and Despair
Why does the left continue to appeal to democracy? Is democracy, as Slavoj Žižek asks, the ultimate horizon of political thought? Is reiterating the ideological message of communicative capitalism the best the left can do in the face of neoliberal hegemony and the collapse of socialism? Is democracy the fall back position for left politics, all that is left of our wounded and diminished political aspirations? Or does the hope its evocation promises mark instead a pervasive left despair? Is this as good as it gets?
Jalal TouficThe Resurrected Brother of Mary and Martha: A Human Who Resurrected God!
Then Mary took about a pint of pure nard, an expensive perfume; she poured it on Jesus’ feet and wiped his feet with her hair. And the house was filled with the fragrance of the perfume. But one of his disciples, Judas Iscariot, who was later to betray him, objected, ‘Why wasn’t this perfume sold and the money given to the poor? It was worth a year’s wages.’ … ‘Leave her alone,’ Jesus replied. ‘It was intended that she should save this perfume for the day of my burial’” (John 12:1–7).
Mark BeasleyLet All Mortal Flesh Keep Silence: The Voice in Mike Kelley’s Music
It is in the satiric verse and corrupting voice, in the use of text and performance to attack governing institutions, that we find Mike Kelley, the contemporary Goliard, stinking up the institutions—on occasion the Church itself (Judson Church Horse Dance, 2009)—with his version of art, music, and voice as ritual form.
Michael BaersMichael Asher (1943–2012): Parting Words and Unfinished Work
The matter of Michael Asher’s final, unrealized project is of more than peripheral importance, and I have described my experience at length to ensure that the concept of the project is marked with his imprimatur. I view it as the culmination of his work on the intersection between site, class, ideology, and history—his interest in understanding the real as a negotiation between the historical and structural basis of reality, arrived at through “epistemological procedures of which the archive is the cipher and research the mode.”