Danh Vo’s “untitled” and “Cathedral Block, Prayer Stage, Gun Stock”
              Harry Thorne
              We create our own artworks. Regardless of their maker or mark, we push ourselves through the objects and images that deign to confront us and, as such, shape ourselves and our newfound companions into something other than we were before. It could be said that when we interact with art objects, we actively collaborate with another, with one another, which is a pleasant way of narrativizing our lowly passage through life: we work alongside the many things of the world so as to generate meaning. This notion of incorporeal co-existence would suggest that the self is an entity less fixed and singular than it is multivalent, multiplicitous, more. The memory of Édouard Glissant floats, preaching the oft-quoted pledge “not to be a single being”; Antonio Gramsci, cited prominently in Edward Said’s Orientalism (1978), writes of “‘knowing thyself’ as a product of the historical process to date, which has deposited in you an infinity of traces.” Self as infinity. Infinity as self. Vietnam-born Danish artist Danh Vo speaks in similar tones: “I don’t really believe in my own story, not as a singular thing anyway. […] I see myself, like any other person, as a container.” But are we containers or conduits? Do …
              London Roundup
              Mariana Cánepa Luna
              Just as Frieze Art Fair opened last Wednesday, Prime Minister Theresa May gave her keynote speech—and dared to dance again—at the Conservative Party Conference in Birmingham. She announced that freedom of movement would be terminated “once and for all” by limiting access to “highly skilled workers” (in short, migrants earning over 30,000 British pounds per year). Countless art professionals earn much less (including entry-level curatorial staff at Tate, and yours truly), as well as doubtless many of the myriad gallery and museum folks involved in the city-wide jamboree of Frieze week. How do we imagine London’s contemporary art ecology post-Brexit, a scene that has grown exponentially since Tate Modern’s opening in 2000 and the first Frieze Art Fair in 2003? The question of how the 2019 edition of the fair is going to be affected was the elephant in the tent. Most people I asked shrugged: negotiations are still ongoing, consequences are yet to be seen. “It’ll be fiiiiine,” a London museum director told me. “Maybe we’ll visit a smaller fair, like the first editions—remember those days?” opined a British gallerist friend working in New York. Although one could put this upbeat denial down to the cliché of dark British …

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