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Edward Weldon, one of the ten artists presented at the exhibition How the West Has Won and Lost at the British Council Window Gallery in Prague, said, ”most of what has ever been made is rubbish that wants burning or throwing in the sea. We need to start looking at things properly…” The exhibition itself supported this witty remark by the strategic selection of artists whose various works consistently fought any kind of shift to a common denominator. This was due to their sensitive composition, which consistently used the possibilities in the given space and employed the contrast between the surface conception of the external side of the window and the spatial installation in the window’s depth. This all led to the emphasis on the uniqueness of the works exhibited, which guarantees them real attention in perhaps the most effective way.
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Contents of the new issue.
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Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
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An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
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"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
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