Love Me Some Artspeak

From Frieze Magazine:

My practice is …


My work …

– is transversal
– inhabits a transgendered space
– is post-/para-fictional
– was inspired by an artist who lived in the Amazon/Slough/Czechoslovakia/Scotland in the early 1970s …
– references both my height and the height of my bedroom ceiling when I was a teenager
– repositions an earlier engagement with …
– is super-performative
– references Bertolt Brecht, Frédéric Chopin and Charles M. Schulz
– engages with non-human species
– is part of my socially engaged practice
– is part of my broad toolbox of activist strategies
– is kind of like beyond language
– is who I am
– is part of a collective which …
– is a collaborative practice investigating xyz potentialities
– limns the space wherein the digital erupts into sculptural objecthood
– generates a matrix of networks that refer to a circuit of references
– is about how great animals are


My practice …

– blurs the boundaries between
– reinscribes/encodes
– maps the terrain of the ineffable
– indexes the archival impulse
– explores the topographical limits of the necessary
– reclaims the polis/agonistic public realm
– is part of a regime of the sensible
– is a critique of Post-Fordist economy/affective labour
– offers an autonomous space of resistance
– strategically inhabits a liminal zone in which it both enacts and critiques …
– is essentially performative
– is overwhelmingly discursive
– is deliberately opaque
– is deliberately crass
– is developed out of artistic research
– has evolved in response to the pedagogical turn
– investigates failure as a conceptual strategy
– is informed by dressage
– fumbles in the dark with the zipper of Postmodernity
– gets drunk and pukes all over the topographic modalities of the real
– is, like, really, really sorry and hopes the real will return soon
– is so busy at the moment with shows and art fairs it’s insane, but will get back to you asap about interrogating failed Utopias


My praxis … 

– is the handmaiden of Marxism-Leninism
– contemplates the void/ the sublime
– is riddled with aporia and mise-en-abyme
– concerns the potentiality of verticality
– believes that pleasure is a bourgeois tool
– reflects my self-reflexivity
– mirrors the Gaze
– is avant-garde
– is an unauthored piece of state propaganda
– interrogates gender
– is interested in simulacra
– struggles on behalf of the proletariat
– explores rhizomatic social network flows via net art
– is mired in class struggle
– believes that Theodor Adorno’s statement, ‘every work of art is an uncommitted crime’, is super-true
– relies on egg tempera
– doesn’t believe in money
– has embraced Rubens’s approach to line drawing
– is grounded in a long, skill-based apprenticeship
– woke up in the ruins of modernity but can’t remember how on earth it got there