Friday, 24 August 2018
Wednesday, 15 August 2018
A is for front line.
A is for an apartheid of the imagination
A is for violence
A is for agony, agonism
anomie and anaesthesia
B is for
C is for concatenation, constituent, components, construction
Class War, Colonisation of everyday life, or Capitalism as Crisis.
Consumption or the Common.
Commodities and Counselling.
A is for art, or art into life, not art for the few but art for the many, practised by the many.
A is for art=life.
Our front-lines of art affecting life.
Perhaps understood as lifestyle choices.
No beginnings. No points of origin.
Life that is styled.
emptying out the people
A is for affiliations
with the fiction of people
with service industry production
the mining of the social
A is for Abstraction, concretely felt
A is for
appropriation (read, dispossession)
A is for alternative facts
mythic language of the waiting rooms of living hell
Folkloric horror, tenement fiction.
Postmodernism, I am told, begins with the end of meta-narratives
conjoined to the destruction of social housing
A bitter irony for critical theories of difference
As the common hearth is further dismantled, as boundaries re-assigned
To cut a ditch in the sky
An augur in the templum
An inauguration of tears
As above so below:
filling up, filling in
giving up, giving in
Pyramids and blue haze;
Raptures of the present.
Bettered? Bittered? Battered. Rollicking, roiling, flavoured. Indelible taints.
Couriers of bad faith.
Mining cultural capital carries flavours.
Socially assigned disposability.
Consigned to invisibility.
Wallowed pathology of the social as daemonic excuse for capital acquisition.
Fairy logic of assigned governance.
Fathers save us.
Kinship and fam.
Family and famine. Famished.
Liquid mobile capital brand management
Capitals as entrepreneurial brand without social reproduction considerations
A riot of possibility
Whose right to the city?
Upgrading as continual soft conflict
From austerity to perverted promises of communal luxury
How might our bonds be figured?
Bondage and the pathology of the flow.
A politics of profits through care.
Tuesday, 14 August 2018
LMFS is the name of the collaboration between Louisa Minkin and Francis Summers. We have been making banners sometimes since 2012.
Recurring themes include: agitation, solidified memory, forgetting, allusions, technologies, image-text relations, poetic dispersal and concretion, social art-work as patchwork archaeology of failed forms, the lumpen-vectoral…
Some methods: Historical research, sudden leaps, churned seas of associations. The thud of the rock from our ancestors hitting the back of our heads, smelling the chilled sweat of the sublime as it slumbers in a cardboard box at the amazon depot [thanks Tyler Coburn]
We think about chalk on the fence, the impermanence of the public sphere…
We <3 the poor image.
We think about networks, borders, behaviours.
We ask along with Vilem Flusser; What does it mean to see an image, to respond to it as a thickening feedback procedure?