bell hooks, in interview with Lawrence Chua (BOMB magazine, issue 48, 1994)
When you are a woman and you use a confessional narrative, people tend to think there is not some more complex structure of thinking or philosophy behind that narrative. I needed to bring some of that background thinking more to the fore, otherwise, it failed…
… I am passionate about ideas. They’re not just the stuff of spectatorship and entertainment to me. They’re a life-blood, and that’s what makes the intellectual process so radically different from the academic process.
Part of the challenge for insurgent intellectuals, particularly those of us who are artists in this society, is to pull back from academe, actually, and academic settings, precisely to break this notion that has become so popular in the culture, that the two experiences are one.
Lizzy Mercier Descloux & Richard Hell.
Ghosts Before Breakfast (1928) - Hans Richter
Tehching Hsieh: One Year Performance 1980-1981.
One Year Performance (Cage Piece)
September 29, 1978 -September 30, 1979
11′6″ × 9′ × 8’ wooden cage, wash basin, lights, a pail, single bed
No talking, reading, writing or music
Notarized by Robert Projansky
The artist is caged. The artist punches a time clock. The artist takes part in the banalising ritual of murdering time with dead labor. Art is ultimately shown, in the specular state, to be a corollary of alienated labor. And to forget this is at best an unforgivable romanticism and at worst a conscious act of vulgar trickery.
Tehching Hsieh #4,
Art / Life: One Year Performance 1983-1984 (Rope Piece)
In this performance, Hsieh and Linda Montano spent one year between 4 July 1983 and 4 July 1984 tied to each other with an 8-foot-long (2.4 m) rope. They had to stay in a same room while not allowed to touch each other until the end of the one year period. Both of them shaved their hair in the beginning of the year, and the performance was notarized initially by Paul Grassfield and later by Pauline Oliveros.
-Post by Michael Xufu Huang
100% admiration for endurance artists Tehching Hsieh and Linda Montano. Study in closeness and claustrophobia.
"Clashes all over West Bank, 2 Palestinians Killed and several hundreds wounded. There, too, Israel oppresses everyone" Belal - Gaza
SPLOSH for the CULT. SQUARECULT VOL 2.
COME TO MY GIG, AT MY HUMBLE ABODE
Inside artist Louise Bourgeois’ home in New York, left untouched since her death / Photos by Nicholas Calcott
At the center of this critique is the argument that Marx’s analysis of capitalism has been hampered by his inability to conceive of value-producing work other than in the form of commodity production and his consequent blindness to the significance of women’s unpaid reproductive work in the process of capitalist accumulation. Ignoring this work has limited Marx’s understanding of the true extent of the capitalist exploitation of labor and the function of the wage in the creation of divisions within the working class, starting with the relation between women and men. Had Marx recognized that capitalism must rely on both an immense amount of unpaid domestic labor for the reproduction of the workforce, and the devaluation of these reproductive activities in order to cut the cost of labor power, he may have been less inclined to consider capitalist development as inevitable and progressive.Silvia Federici, The Reproduction of Labor Power in the Global Economy and the Unfinished Feminist Revolution (via foucault-the-haters)
[T]he discovery of reproductive work has made it possible to understand that capitalist production relies on the production of a particular type of worker—and therefore a particular type of family, sexuality, procreation—and thus to redefine the private sphere as a sphere of relations of production and a terrain of anticapitalist struggle. In this context, policies forbidding abortion could be decoded as devices for the regulation of the labor supply, the collapse of the birth rate and increase in the number of divorces could be read as instances of resistance to the capitalist discipline of work. The personal became political and capital and the state were found to have subsumed our lives and reproduction down to the bedroom.Silvia Federici, The Reproduction of Labor Power in the Global Economy and the Unfinished Feminist Revolution (via foucault-the-haters)
We all love you gedrun gut
My turn to run
Viv Albertine, talking about Ari Up (x)
My relationship with Ari is up there in the top 5 most difficult relationships of my life. It was also the most productive and creative relationship I have ever had.
Ari was 14 when I met her. She was a feral child. I watched her become an extraordinary woman.
Ari came to London from German boarding school when she had just turned 14. English was her second language. In those first few years she did not have one friend her own age. It was not easy for her and she had to fight to be taken seriously as an equal person.
Ari was a sponge, she soaked up the ideologies, the speech patterns, the vocabulary of the groups we mixed with. From Finsbury Park lads, through to The Bromley Contingent and Rastas. She was a fantastic mimic too.
She was totally unselfconscious about her body and remained so throughout her life. Ari’s biggest gift to me was she made The Slits a safe place for a woman of any shape or size to be relaxed and free with her body. She celebrated womanliness, she reveled in it. She was so sensual on and off stage it was empowering to any girl who saw her. I’m not kidding. The way she carried herself was a revolution.
Stage was Ari’s home. She was in her element there. That is where she could let go completely. She was at her best there. She pissed there. Stage is one of the only places a woman with that much energy, power and self belief can show off and sometimes get away with it.
The singing voice that Ari developed, that has been so copied and referenced over the years came very quickly. That is because she was true to herself. She used sounds that she heard around her from animals, birds, playground chants, accents and melded them all together. It happened without thinking. She was as unselfconscious about her voice as she was about her body.
Ari had a very exacting ear. She could hear every nuance in a drum beat, a guitar riff, a vocal harmony and a bassline. She played a huge part in creating The Slits’ sound.
Throughout the last 30 years there were many people who tried to suppress and squash Ari. No one succeeded. She was reviled, mocked and criticised for daring to be herself. She could not and would not be tamed. It scared people. It scared men. She was stabbed and attacked in the street so many times. For just emanating too much WILD STUFF.
Ari was the most dynamic woman I have ever known.
This revolution of music is paralleled by the increasing proliferation of machinery sharing in human labour.Luigi Russolo -Art of Noises 1913