FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Zanna Gilbert: Mr. Peanut Summit (Introduction) S5 Anna Banana, Zanna Gilbert, Michael Morris, and Vincent Trasov: Mr. Peanut Summit

(Conversation)

FILLIP

Fillip Index — By Publication By Author By Title By Length. Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art. Rebecca Lane: "New" Museum of Modern (Contemporary) Art. F4. Caren Kaplan: “A Rare and Chilling View”: Aerial Photography as Biopower in the

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Free Pussy Riot NA Judgment and Contemporary Art Criticism: Keynote A Judgment and Contemporary Art Criticism: Panel One A Judgment and Contemporary Art Criticism: Panel Two

FILLIP / FAQS

The word “fillip” means to strike a soft blow or to hit in a non-violent way, as a stimulant. Literally, it is the action that results when one puts pressure with one’s index finger upon one’s thumb until the pressure is so great that the finger releases with a snap. Fillip was chosen as a FILLIP / BROWSING THE AAAARG LIBRARY (JEFF KHONSARY) Browsing the AAAARG Library Jeff Khonsary. In the Fall of 2010, Fillip commissioned the AAAARG Library, a site-specific installation, in conjunction with the the fifth annual NY Art Book Fair, held at MoMA PS1, Long Island City, New York.The installation was a collaboration between Fillip, artist Sean Dockray, and AAAARG, an online platform for the redistribution of textual material. FILLIP / DERRIDA’S GARDEN (ELEANOR MORGAN) About the Author. Eleanor Morgan is a British artist currently living in Vancouver. Her recent work explores our relationship with animals. This has included sculpting with spider’s silk, creating a staring match with a squirrel, and recording a close encounter with a giant

sea anemone.

FILLIP / NOT JUST SOME CANADIAN HIPPIE BULLSHIT: THE It may help to think of it as being part of the wider network where artistic activity just becomes one of the elements. —Robert Filliou1 In the above quote, the French Fluxus artist Robert Filliou describes the conception of an Eternal Network

made up of

FILLIP / INSTITUTIONS OF REGIONALISM: ARTIST COLLECTIVISM Like Reaney, Greg Curnoe’s early involvement with artists’ institutions explicitly charted the early doctrine of Regionalism in London and in his own practice. In fact, Curnoe is the artist most directly associated with the Regionalist movement. Upon returning to the city after failing out of the Ontario College of Art ( OCA) in

1960, he

FILLIP / THE SECOND SITUATION: LOOKING BACK ON THE HISTORY Image: ’85 New Wave, installation view.Courtesy of the Ullens Center for Contemporary Art, Beijing. About the Author. Joni Low is a regular contributor to Yishu: Journal of Contemporary Chinese Art and Ricepaper Magazine. Her writing has also appeared in catalogues for the Richmond Art Gallery, the Helen Pitt Gallery, as well for Centre A, where she was previously gallery and library FILLIP / WHAT IS A PARTICIPATORY PRACTICE? (DAVID This conversation between David Goldenberg and Patricia Reed probes into models and the development of participatory practices. Fragments of the discussion have been culled and elaborated from issues raised during a series of online debates between practitioners experimenting in participatory practices in the Post-Autonomy chat room, November 2007 to February 2008.

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Zanna Gilbert: Mr. Peanut Summit (Introduction) S5 Anna Banana, Zanna Gilbert, Michael Morris, and Vincent Trasov: Mr. Peanut Summit

(Conversation)

FILLIP

Fillip Index — By Publication By Author By Title By Length. Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art. Rebecca Lane: "New" Museum of Modern (Contemporary) Art. F4. Caren Kaplan: “A Rare and Chilling View”: Aerial Photography as Biopower in the

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Free Pussy Riot NA Judgment and Contemporary Art Criticism: Keynote A Judgment and Contemporary Art Criticism: Panel One A Judgment and Contemporary Art Criticism: Panel Two

FILLIP / FAQS

The word “fillip” means to strike a soft blow or to hit in a non-violent way, as a stimulant. Literally, it is the action that results when one puts pressure with one’s index finger upon one’s thumb until the pressure is so great that the finger releases with a snap. Fillip was chosen as a FILLIP / BROWSING THE AAAARG LIBRARY (JEFF KHONSARY) Browsing the AAAARG Library Jeff Khonsary. In the Fall of 2010, Fillip commissioned the AAAARG Library, a site-specific installation, in conjunction with the the fifth annual NY Art Book Fair, held at MoMA PS1, Long Island City, New York.The installation was a collaboration between Fillip, artist Sean Dockray, and AAAARG, an online platform for the redistribution of textual material. FILLIP / DERRIDA’S GARDEN (ELEANOR MORGAN) About the Author. Eleanor Morgan is a British artist currently living in Vancouver. Her recent work explores our relationship with animals. This has included sculpting with spider’s silk, creating a staring match with a squirrel, and recording a close encounter with a giant

sea anemone.

FILLIP / NOT JUST SOME CANADIAN HIPPIE BULLSHIT: THE It may help to think of it as being part of the wider network where artistic activity just becomes one of the elements. —Robert Filliou1 In the above quote, the French Fluxus artist Robert Filliou describes the conception of an Eternal Network

made up of

FILLIP / INSTITUTIONS OF REGIONALISM: ARTIST COLLECTIVISM Like Reaney, Greg Curnoe’s early involvement with artists’ institutions explicitly charted the early doctrine of Regionalism in London and in his own practice. In fact, Curnoe is the artist most directly associated with the Regionalist movement. Upon returning to the city after failing out of the Ontario College of Art ( OCA) in

1960, he

FILLIP / THE SECOND SITUATION: LOOKING BACK ON THE HISTORY Image: ’85 New Wave, installation view.Courtesy of the Ullens Center for Contemporary Art, Beijing. About the Author. Joni Low is a regular contributor to Yishu: Journal of Contemporary Chinese Art and Ricepaper Magazine. Her writing has also appeared in catalogues for the Richmond Art Gallery, the Helen Pitt Gallery, as well for Centre A, where she was previously gallery and library FILLIP / WHAT IS A PARTICIPATORY PRACTICE? (DAVID This conversation between David Goldenberg and Patricia Reed probes into models and the development of participatory practices. Fragments of the discussion have been culled and elaborated from issues raised during a series of online debates between practitioners experimenting in participatory practices in the Post-Autonomy chat room, November 2007 to February 2008.

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Zanna Gilbert: Mr. Peanut Summit (Introduction) S5 Anna Banana, Zanna Gilbert, Michael Morris, and Vincent Trasov: Mr. Peanut Summit

(Conversation)

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Free Pussy Riot NA Judgment and Contemporary Art Criticism: Keynote A Judgment and Contemporary Art Criticism: Panel One A Judgment and Contemporary Art Criticism: Panel Two

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Chris Fitzpatrick and Post Brothers: A Productive Irritant : Parasitical Inhabitations in Contemporary Art F15 Mohammad Salemy, Nick Srnicek, and Alex Williams: Speed Trials: A Conversation about Accelerationist Politics

FILLIP / FAQS

The word “fillip” means to strike a soft blow or to hit in a non-violent way, as a stimulant. Literally, it is the action that results when one puts pressure with one’s index finger upon one’s thumb until the pressure is so great that the finger releases with a snap. Fillip was chosen as a FILLIP / A PEDAGOGICAL TURN: BRIEF NOTES ON EDUCATION AS A Pedagogical Turn: Brief Notes on Education as Art Kristina Lee Podesva. Let us begin with the simple proposition that education as a form of art making constitutes a relatively new medium. It is distinct from projects that take education and its institution, the academy, as a subject or facilitator of production and is worth examining in more detail through the following questions: How has FILLIP / BASIN CLIMBING: AN INTERVIEW WITH MOUNTAIN SCHOOL Piero Golia was born in 1974 in Napoli, Italy. He lives and works as an artist in Los Angeles, California. Eric Wesley studied at the University of California, Los Angeles, from 1992 to 1997. He is co-founder of Mountain School of Arts. He currently lives and works in

both

FILLIP / TERMINI (ANDREW POWER) The pleasure of Charles Rea’s Crystal Lab’s is its hermeneutical playfulness, problematized by its abstruse epistemology. This is evident in its ambiguity, and emblematized by its kaleidoscopic layering of diagrams and charts superimposed through translucent intersecting planes, erupting with errant detail, colours bleeding and receding to diffusion. FILLIP / DOCUMENTS MAGAZINE 1992–2004: PART ONE, MIWON Documents, a now defunct magazine created by Helen Molesworth, Miwon Kwon, Margaret Sundell, Chris Hoover, and James Marcovitz, ran for twenty-three issues, produced between 1992 and 2004 in New York City. Within that period, the publication carved out a unique and rigorous model of interdisciplinary engagement with contemporary art and the broader social and cultural field. FILLIP / BEST CASE SCENARIO (STEVE LAMBERT) Best Case Scenario Steve Lambert. On 11 November 2008, a fourteen-page special edition of the New York Times mysteriously appeared on the streets of New York. Its headline, “Iraq War Ends,” introduced a collection of articles under the rubric of “All the News We Hope to Print,” an alteration of the paper of record’s actual motto, “All the News That’s Fit to Print.” FILLIP / THE DAY AFTER: AN INTERVIEW WITH SLAVOJ ZIZEK The Day After: An Interview with Slavoj Zizek Slavoj Žižek and Robert Eikmeyer. In the conversation that follows, Robert Eikmeyer sits down with Slavoj Žižek to discuss biopolitics, democracy as fetish, globalization as fate, principled opportunism, efficiency of masks, liberal communism, multitude, Vladimir Lenin, and the legacy of

Karl Marx.

FILLIPFILLIP / AN EVIDENCE HORIZONFILLIP / BASIN CLIMBINGLENE BERG AND

JACOB WREN

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Zanna Gilbert: Mr. Peanut Summit (Introduction) S5 Anna Banana, Zanna Gilbert, Michael Morris, and Vincent Trasov: Mr. Peanut Summit

(Conversation)

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Rebecca Lane: "New" Museum of Modern (Contemporary) Art F4 Caren Kaplan: “A Rare and Chilling View”: Aerial Photography as Biopower in the Visual Culture of 9/11

FILLIP / MAGAZINE

Fillip is a Vancouver-based publishing organization formed to expand spaces for critical discussions on contemporary art.

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Free Pussy Riot NA Judgment and Contemporary Art Criticism: Keynote A Judgment and Contemporary Art Criticism: Panel One A Judgment and Contemporary Art Criticism: Panel Two

FILLIP / FAQS

What events does Fillip run? Fillip programs events throughout the year in relation to artists and works featured in our current projects. These events and activities include international conferences such as “Judgment and Criticism” (2009), “Intangible Economies” (2011), and “Institutions by Artists” (2012), which were subsequently documented in our Folio series anthologies. FILLIP / NOT JUST SOME CANADIAN HIPPIE BULLSHIT: THE It may help to think of it as being part of the wider network where artistic activity just becomes one of the elements. —Robert Filliou1 In the above quote, the French Fluxus artist Robert Filliou describes the conception of an Eternal Network

made up of

FILLIP / BROWSING THE AAAARG LIBRARY (JEFF KHONSARY) Browsing the AAAARG Library Jeff Khonsary. In the Fall of 2010, Fillip commissioned the AAAARG Library, a site-specific installation, in conjunction with the the fifth annual NY Art Book Fair, held at MoMA PS1, Long Island City, New York.The installation was a collaboration between Fillip, artist Sean Dockray, and AAAARG, an online platform for the redistribution of textual material. FILLIP / DOCUMENTS MAGAZINE 1992–2004: PART ONE, MIWON Documents, a now defunct magazine created by Helen Molesworth, Miwon Kwon, Margaret Sundell, Chris Hoover, and James Marcovitz, ran for twenty-three issues, produced between 1992 and 2004 in New York City. Within that period, the publication carved out a unique and rigorous model of interdisciplinary engagement with contemporary art and the broader social and cultural field. FILLIP / THE SECOND SITUATION: LOOKING BACK ON THE HISTORY Image: ’85 New Wave, installation view.Courtesy of the Ullens Center for Contemporary Art, Beijing. About the Author. Joni Low is a regular contributor to Yishu: Journal of Contemporary Chinese Art and Ricepaper Magazine. Her writing has also appeared in catalogues for the Richmond Art Gallery, the Helen Pitt Gallery, as well for Centre A, where she was previously gallery and library FILLIP / BEST CASE SCENARIO (STEVE LAMBERT) Image: Documentation of the distribution of the New York Times Special Edition.Photograph by Conway Liao. Courtesy of Steve Lambert. About the Author. Steve Lambert is the founder of the Anti-Advertising Agency and lead developer of Add-Art, a Firefox add-on that replaces online advertising with art. He has collaborated with numerous artists, including the Graffiti Research Lab and the Yes Men. FILLIPFILLIP / AN EVIDENCE HORIZONFILLIP / BASIN CLIMBINGLENE BERG AND

JACOB WREN

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Zanna Gilbert: Mr. Peanut Summit (Introduction) S5 Anna Banana, Zanna Gilbert, Michael Morris, and Vincent Trasov: Mr. Peanut Summit

(Conversation)

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Rebecca Lane: "New" Museum of Modern (Contemporary) Art F4 Caren Kaplan: “A Rare and Chilling View”: Aerial Photography as Biopower in the Visual Culture of 9/11

FILLIP / MAGAZINE

Fillip is a Vancouver-based publishing organization formed to expand spaces for critical discussions on contemporary art.

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Free Pussy Riot NA Judgment and Contemporary Art Criticism: Keynote A Judgment and Contemporary Art Criticism: Panel One A Judgment and Contemporary Art Criticism: Panel Two

FILLIP / FAQS

What events does Fillip run? Fillip programs events throughout the year in relation to artists and works featured in our current projects. These events and activities include international conferences such as “Judgment and Criticism” (2009), “Intangible Economies” (2011), and “Institutions by Artists” (2012), which were subsequently documented in our Folio series anthologies. FILLIP / NOT JUST SOME CANADIAN HIPPIE BULLSHIT: THE It may help to think of it as being part of the wider network where artistic activity just becomes one of the elements. —Robert Filliou1 In the above quote, the French Fluxus artist Robert Filliou describes the conception of an Eternal Network

made up of

FILLIP / BROWSING THE AAAARG LIBRARY (JEFF KHONSARY) Browsing the AAAARG Library Jeff Khonsary. In the Fall of 2010, Fillip commissioned the AAAARG Library, a site-specific installation, in conjunction with the the fifth annual NY Art Book Fair, held at MoMA PS1, Long Island City, New York.The installation was a collaboration between Fillip, artist Sean Dockray, and AAAARG, an online platform for the redistribution of textual material. FILLIP / DOCUMENTS MAGAZINE 1992–2004: PART ONE, MIWON Documents, a now defunct magazine created by Helen Molesworth, Miwon Kwon, Margaret Sundell, Chris Hoover, and James Marcovitz, ran for twenty-three issues, produced between 1992 and 2004 in New York City. Within that period, the publication carved out a unique and rigorous model of interdisciplinary engagement with contemporary art and the broader social and cultural field. FILLIP / THE SECOND SITUATION: LOOKING BACK ON THE HISTORY Image: ’85 New Wave, installation view.Courtesy of the Ullens Center for Contemporary Art, Beijing. About the Author. Joni Low is a regular contributor to Yishu: Journal of Contemporary Chinese Art and Ricepaper Magazine. Her writing has also appeared in catalogues for the Richmond Art Gallery, the Helen Pitt Gallery, as well for Centre A, where she was previously gallery and library FILLIP / BEST CASE SCENARIO (STEVE LAMBERT) Image: Documentation of the distribution of the New York Times Special Edition.Photograph by Conway Liao. Courtesy of Steve Lambert. About the Author. Steve Lambert is the founder of the Anti-Advertising Agency and lead developer of Add-Art, a Firefox add-on that replaces online advertising with art. He has collaborated with numerous artists, including the Graffiti Research Lab and the Yes Men.

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Chris Fitzpatrick and Post Brothers: A Productive Irritant : Parasitical Inhabitations in Contemporary Art F15 Mohammad Salemy, Nick Srnicek, and Alex Williams: Speed Trials: A Conversation about Accelerationist Politics FILLIP / MEANS OF PRODUCTION: THE EMPLOYEE WITH JOSH SCHWEBEL Means of Production: The Employee with Josh Schwebel June 5th, 2021 Registration information coming soon. Join us at noon, PST on June 5 for a Means of Production event with artist Joshua Schwebel, in conversation with Teresa Carlesimo and Camille-Zoé Valcourt Synnott. The Employee is both a one-year employment contract and an artwork contributing to the structural support of the Forest City

FILLIP

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on contemporary art.. Free Pussy Riot NA Judgment and Contemporary Art Criticism: Keynote A Judgment and Contemporary Art Criticism: Panel One A Judgment and Contemporary Art Criticism: Panel Two

FILLIP / FILLIP 3

Fillip is a Vancouver-based publishing organization formed to expand spaces for critical discussions on contemporary art. FILLIP / FORWARD LOOKING (APOCALYPSE NOW OR LATER Forward Looking (Apocalypse Now or Later) Christina Linden. In the past year the Oakland Standard, a hybrid curatorial and educational initiative of the Oakland Museum of California,1 has presented a series of participatory contemporary art projects that bring together a variety of Bay Area cultural producers. Its events have been organized and led not only by artists, but also by curators FILLIP / THE HEALING OF AMERICA (GRACE NDIRITU) The Healing of America Grace Ndiritu. The Healing of America is the title of a 1997 book by Marianne Williamson, who campaigned to become the Democratic nominee for the 2020 US presidential election. It’s also the title of an unrealized performance of mine that was meant to take place at the Utah Museum of Contemporary Art in Salt Lake City in

2018.

FILLIP / BEST CASE SCENARIO (STEVE LAMBERT) Best Case Scenario Steve Lambert. On 11 November 2008, a fourteen-page special edition of the New York Times mysteriously appeared on the streets of New York. Its headline, “Iraq War Ends,” introduced a collection of articles under the rubric of “All the News We Hope to Print,” an alteration of the paper of record’s actual motto, “All the News That’s Fit to Print.” FILLIP / NOTES ON THE POLITICS OF AESTHETICS (ELI BORNOWSKY) Notes on the Politics of Aesthetics Eli Bornowsky. Composed of two interviews, an afterword, and a glossary, Jacques Rancière’s The Politics of Aesthetics prescribes a uniquely jagged network of art and politics punctuated by unusual spaces and sharp points. This tiny text

is only a

FILLIP / THE DAY AFTER: AN INTERVIEW WITH SLAVOJ ZIZEK The Day After: An Interview with Slavoj Zizek Slavoj Žižek and Robert Eikmeyer. In the conversation that follows, Robert Eikmeyer sits down with Slavoj Žižek to discuss biopolitics, democracy as fetish, globalization as fate, principled opportunism, efficiency of masks, liberal communism, multitude, Vladimir Lenin, and the legacy of

Karl Marx.

FILLIP / FRIED’S TURN (ARNI HARALDSSON) Fried’s Turn Arni Haraldsson. In Michael Fried’s latest book, Why Photography Matters as Art as Never Before (2008), the chapter titled “Barthes’s Punctum” is engaging for its complex and intricate reading of sections of Roland Barthes’s Camera Lucida: Reflections on Photography (1981). As such, it stands quite apart from the other nine chapters—devoted primarily to various

FILLIP

FILLIP INDEX — BY PUBLICATION BY AUTHOR BY TITLE

BY LENGTH

Fillip is a Vancouver-based publishing organization that was formed in 2004 to expand spaces for critical discussions on

contemporary art.

* Zanna Gilbert: Mr. Peanut Summit (Introduction)

S5

* Anna Banana, Zanna Gilbert, Michael Morris, and Vincent Trasov: Mr. Peanut Summit (Conversation)

S5

* grupa o.k.: Stagelessness (Introduction)

S4

* Toril Johannessen: The Invention and Conclusion of the Eye

S3

* Toril Johannessen: Oppfinnelsen og avviklingen av øyet

S3

* Toril Johannessen: L’invention et la conclusion de l'oeil

S3

* Eva Wilson: Exclusion Zones S2 * John C. Welchman: Joseph Kosuth's _The Second Investigation_ in Vancouver: Art on TV

S1

* Michèle Faguet: A Brief Account of Two Artist-Run Spaces

C

* Barnaby Drabble: We Want Everything: Assembled Thoughts on Artist-led Culture in Zürich C * Makiko Hara: Rethinking a History of Tokyo Art Speak

C

* Pan Wendt: Social Fabric C * Jeffrey Swartz: Space-Run Artists: Art Activism and Urban Conflict in Contemporary Barcelona

C

* Keith Wallace: Artist-Run Centres in 
Vancouver: A Reflection on

Three Texts C

* Matei Bejenaru, Livia Pancu, and Kristina Lee Podesva: Via

Satellite C

* Kenny Cupers, Markus Miessen, Magnus Nilsson, Ralf Pflugfelder, and Patricia Reed: Architectural Space as Agent

C

* Vincent Bonin: Here, Bad News Always Arrives Too Late

C

* Ola El-Khalidi and Diala Khasawnih: Gastronomica Makan
: An Ongoing Conversation

C

* Antonia Hirsch: Intangible Economies

B

* Candice Hopkins: The Golden Potlatch
: Study in Mimesis and

Capitalist Desire

B

* Jan Verwoert: Faith Money Love B * Melanie Gilligan: Affect & Exchange

B

* Monika Szewczyk: Investing in the Blank

B

* Hadley+Maxwell: Someone That Happens

B

* Antonia Hirsch and Olaf Nicolai: Chant d’Échange

B

* Patricia Reed: Economies of Common Infinitude

B

* Antonia Hirsch: Intangible Economies: Preface

B

* Antonia Hirsch: Intangible Economies: An Introduction

B

* Intangible Economies: Forum Discussion

B

* Maria Fusco: The Penalty for Perfidy

A

* Tirdad Zolghadr: Worse than Kenosis

A

* Tom Morton: Three or Four Types of Intimacy

A

* Sven Lütticken: A Tale of Two Criticisms

A

* William Wood: Notes on the Demise and Persistence of Judgment

A

* Maria Fusco: Say Who I Am / Or a Broad Private Wink

A

* Diedrich Diederichsen: Judgment, Objecthood, Temporality

A

* James Elkins: Judgment and Contemporary Art Criticism: Afterword

A

* Jeff Derksen: Times and Places of Critique

A

* Kristina Lee Podesva: Between the Question Mark and the Comma

A

* Jeff Khonsary and Melanie O'Brian: Judgment and Contemporary Art

Criticism: Preface

A

* Judgment and Contemporary Art Criticism: Keynote

A

* Judgment and Contemporary Art Criticism: Panel One

A

* Judgment and Contemporary Art Criticism: Panel Two

A

* Nina Power: Decapitalism, Left Scarcity, and the State

F20

* Mohammad Salemy, Nick Srnicek, and Alex Williams: Speed Trials: A Conversation about Accelerationist Politics

F20

* Ken Becker: Not Just Some Canadian Hippie Bullshit: The Western Front as Artists’ Practice F20 * Lois Klassen: Arriving at Nowhere: Reflecting on Chris Kraus’s

Radical Localism

F20

* Paul Branca and Jesi Khadivi: Social Networks and Soft Crimes

F20

* Nathan Crompton: Elegy of the Non-event

F20

* Zanna Gilbert: The Human Letter: Mail Art Exchanges between East Berlin and Northeast Brazil in the 1970s

F20

* Philip Monk: Battle Stances: General Idea, CEAC, and the Struggle for Ideological Dominance in Toronto, 1976–78

F20

* Melanie O'Brian: A Wicked Problem: Fogo Island Dialogues

F20

* Chantal Pontbriand and Amy Zion: Parachute: 1975–2007 and Its

Afterlife F20

* A Long Road Turns: On the Release of Fillip 20

F20

* Zarouhie Abdalian, Aaron Harbour, and 
Jackie Im: Having Been Held 
Under the Sway F19 * Byron Peters and Jacob Wick: Scripting Misperformance, Misperforming Scripts

F19

* Christopher Régimbal: Institutions of Regionalism: Artist Collectivism in London, Ontario

F19

* Bettina Funcke and Andrew Stefan Weiner: Intimate Cacophonies: 
An Exchange Regarding 
100 Notes—100 Thoughts

F19

* Lene Berg and Jacob Wren: Contradictions 
and Paradoxes

F19

* Matteo Pasquinelli: The Labour of 
Abstraction: Seven Transitional 
Theses on Marxism 
and Accelerationism


F19

* Martha Langford: Some Uses of Disenchantment: Vladimir Putin’s Staged Photography F18 * Ahmad Hosni: The Page that I Am F18 * Alexander R. Galloway and Mohammad Salemy: The Question of

Interface F18

* Vanessa Nicholas: Great White North

F18

* Willem de Rooij and Anna-Sophie Springer: Colonizing the Exhibition Space F18 * Chris Sharp: The Concert Was Not a Success: On the Withdrawal of

Withdrawal F18

* Matthew Buckingham and David Harvey: Tracing Creative Destruction

F18

* Bassam El Baroni and Hassan Khan: And the future remains, as always, unknown and unpredictable

F18

* Liz Park, Tim Saltarelli, and Kristina Scepanski: A Postscript to Creative Destruction

F18

* Oraib Toukan: Events-Called-Schools: Transcript from the International Academy of Art Palestine

F18

* Gabrielle Moser: Always Working: Introduction

F18

* Sven Lütticken: The Making of Labour: The Movie

F18

* Natascha Sadr Haghighian: Excerpts from Solo Show

F18

* Natascha Sadr Haghighian: In Conversation: Natascha Sadr Haghighian and Uwe Schwarzer

F18

* Caren Kaplan: “A Rare and Chilling View”: Aerial Photography as Biopower in the Visual Culture of 9/11

F17

* Maria Muhle: Imitation of Life: Biopolitics and the Cinematographic Image

F17

* David Geers: Open Call Art, Democracy, and the Culture of

Consensus

F17

* Jesi Khadivi: Artmoreorless: The Early Performances of Asco

F17

* Mayssa Fattouh and Walid Sadek: Tranquility Is Made in Pictures

F17

* Renato Rodrigues da Silva: El Instrumento y Su Obra: On Luis Camnitzer’s Conceptualism

F17

* Miwon Kwon: Documents Magazine 1992–2004: Part One, Miwon Kwon

F17

* Helen Molesworth and Amy Zion: Documents Magazine 1992–2004: Part Two, Helen Molesworth

F17

* Vincent Bonin: Here, Bad News Always Arrives Too Late

F16

* Melanie Gilligan: Affect & Exchange

F16

* Ariella Azoulay and Elle Flanders: The Right to Share 
the Public Archive: 
A Conversation about Ariella Azoulay’s 
Different Ways Not to Say Deportation

F16

* Ola El-Khalidi and Diala Khasawnih: Gastronomica Makan
: An Ongoing Conversation

F16

* Philip Monk: Crises (and Coping) in the Work of General Idea

F16

* Patricia Reed: Co-autonomous 
Ethics and the Production 
of

Misunderstanding

F16

* Chris Cozier and Claire Tancons: No More 
than a Backyard 
on

a Small Island

F16

* Jon Davies: The Masculine Mystique

F16

* Christian Hänggi: Stockhausen at Ground Zero

F15

* Jeff Khonsary and Metahaven: Smashing Windows with Windows: Transparency, Design, and WikiLeaks

F15

* Metahaven: WikiLeaks: Axis of Reputation

F15

* Gabrielle Moser: Exhaustive Images
: Surveillance, Sovereignty, and
 Subjectivity in Google Maps Street View

F15

* Saul Anton: Bin Laden’s Death Mask

F15

* Kate Steinmann: Apparatus, Capture, Trace: Photography and

Biopolitics

F15

* Juan A. Gaitán: Folding Money F15 * Chris Fitzpatrick and Post Brothers: A Productive Irritant
: Parasitical Inhabitations in Contemporary Art

F15

* Letters and Responses: Responses to _On Further Reflection_

F15

* Christina Linden: Forward Looking (Apocalypse Now or Later)

F15

* Letters and Responses: Responses to the Recent Cuts to Arts Funding in the Netherlands

F14

* Matei Bejenaru, Livia Pancu, and Kristina Lee Podesva: Via

Satellite F14

* Jeff Khonsary: The Encyclopedia That Anyone Can Edit

F14

* Diedrich Diederichsen: Living in the Loop

F14

* Kenny Cupers, Markus Miessen, Magnus Nilsson, Ralf Pflugfelder, and Patricia Reed: Architectural Space as Agent

F14

* Reid Shier and Michael Turner: Upon Further Reflection

F14

* Monika Szewczyk: Investing in the Blank

F14

* Amy Zion: Ascetic Desire
 F14 * Kristina Lee Podesva and Ryan Trecartin: When the time comes
 you won’t understand 
the battlefield

F13

* Anthony Downey: Camps (or the Precarious Logic of Late Modernity)

F13

* Antonia Hirsch: Intangible Economies

F13

* Candice Hopkins: The Golden Potlatch
: Study in Mimesis and

Capitalist Desire

F13

* Carson Chan: Measures of an Exhibition: Space, Not Art, Is the Curator’s 
Primary Material

F13

* Haema Sivanesan: Producing Images in Times of War

F13

* Jan Verwoert: Faith Money Love F13 * Jesse McKee and Claire Tancons: On Carnival and 
Contractual

Curating F13

* Lisa Marshall: An Evidence Horizon

F13

* Jeff Khonsary: Browsing the AAAARG Library

F13

* Sven Lütticken: Once More on Publicness
: A Postscript to

_Secret Publicity_

F12

* Jeff Derksen: How High Is the City, 
How Deep Is Our Love

F12

* Lorna Brown and Anne Pasternak: Agility in Public

F12

* Julian Myers: Riot Show
: Some Notes on the Archive

F12

* Kristina Lee Podesva: When the Levees Break

F12

* Kathleen Ritter: Translating Rubble: Misreading Mark Manders

F12

* Sean Dockray: The Scan and the Export

F12

* Eric Kluitenberg: Eclipse of the Spectacle
: Art and the Network

of Networks F12

* Keith Wallace: Artist-Run Centres in 
Vancouver: A Reflection on

Three Texts F12

* Haris Epaminonda and Jacob Fabricius: Unresolved and Unanswered

and Unspoken F11

* Lawrence Rinder: Notes Toward a 
Conversation on Painting


F11

* Antonia Hirsch: Indirect Speech F11 * Jamie Hilder: Reading Mario García Torres at the Berkeley Art

Museum


F11

* Kim Dhillon: Language To Be Looked At

F11

* Liz Park: Crawl and Trace
: Invisible Histories and the 
Project of Remembering F11 * Milena Tomic: An Impossible Map F11 * Renato Rodrigues da Silva: Interdisciplinarity 
& Participation 
in Contemporary Brazilian Art

F11

* Aaron Peck: Given without Guide: 
Landscape Exhibitions at the Contemporary Art Gallery

F11

* Alex Kitnick: Sean Paul’s Kammerspiel

F11

* Arni Haraldsson: Fried’s Turn F11 * David Berridge: The Storyteller of Negative Space
: Writing in the Work of Susan Hiller

F11

* Gabrielle Moser: Exhibition-Making with Ghosts: 
The 1984 Miss General Idea Pavilion

F11

* Kate Armstrong: A Manual for the Discrete and the Continuous

F11

* Rosemary Donegan and John O’Brian: Working Title

F10

* Maria Fusco and Joseph Mosconi: Re: Fictions


F10

* Irene Loughlin and Johan Lundh: Re: The Dialogical



F10

* Lawrence Rinder and Shepherd Steiner: Re: Democracy and the

Demos

 F10

* Fionn Meade and Jayce Salloum: Re: Documentary Practices



F10

* Dexter Sinister and Eric Fredericksen: Re: The Serving

Library

 F10

* Lorna Brown and Matthew Stadler: Re: Work and Boredom



F10

* Christian Hillesø, Kate Steinmann, and Johan Tirén: Re: Democracy, Economy, and Power


F10

* David Goldenberg and Markus Miessen: Re: Participation



F10

* Shepherd Steiner: Other Uses: Boolean Searches in the Martha

Rosler Library

F9

* Randy Lee Cutler: A Spectrum of Difference

F9

* Dan Graham and Cliff Lauson: Vancouver from the Outside In: Part

Two F9

* Joni Murphy: Althea Thauberger's Carrall Street

F9

* Lea Feinstein and Christian L. Frock: If You Aren't Mad as Hell You Haven't Been Paying Attention

F9

* Boris Groys and Andro Wekua: Wait to Wait

F9

* Diedrich Diederichsen: Water Versus Objects: Reproduction or Dissemination, or How Did Pop Music Become Ubiquitous?

F9

* Steve Lambert: Best Case Scenario F9 * Ana Balona de Oliveira: Screens of Film, Video, Memory, and Smoke

F9

* Maegan Hill-Carroll: From Yosemite to the Group of Seven, with Some Flatness in Between

F9

* Molly Dilworth: Lightly Illegal: A Letter from the Most Elegant Public Bathroom in Southeast Portland F9 * Cranfield and Slade: Sunshine Daydream/Maerdyad Enihsnus

F9

* Marisa Jahn: Fillip Index F9 * Mariana Castillo Deball: Visages Faux F8 * Julia Meltzer & David Thorne: Fillip Index

F8

* Slavs and Tatars: Pantheon of Broken Men and Women

F8

* Ron Terada: Have You Seen This Kitten?

F8

* Matthew Stadler: Just Here to Help: Global Art Production and

Local Meanings

F8

* Ingrid Chu and Slavs and Tatars: Rebuilding the Pantheon

F8

* Jeremy Todd: Looking Glass Noir and the Ongoing Significance of

Steel and Flesh

F8

* Joni Low: The Second Situation: Looking Back on the History of Chinese Contemporary Art

F8

* David Goldenberg and Patricia Reed: What Is a Participatory

Practice? F8

* Alison Rajah: Thwarting the Royal Road

F8

* Tyler Russell: Hold this Thread While I Walk Away

F8

* David Court: Living the Image: Looking at Yam Lau’s _Scapeland_

F8

* Emily Vey Duke: Art about Life Is Better than Art about Art

F8

* Joseph Mosconi: I Dream of Drella F8 * Mark Clintberg: Re: Staging the Labyrinth

F8

* Fionn Meade: Oh, Inverted World F8 * Paul Chan: Untitled (Behold, I show you a mystery)

F7

* Juan A. Gaitán: That Thinking Feeling

F7

* Pan Wendt: Social Fabric F7 * Alex Kitnick: Partial Recall F7 * Joseph del Pesco: From the Hip F7 * Charo Neville: Smooth Space Provisions: Multiple Voices in

Curating F7

* Jeffrey Swartz: Space-Run Artists: Art Activism and Urban Conflict in Contemporary Barcelona

F7

* Willie Brisco, Liam Gillick, and Danna Vajda: It’s Interesting that You, with Your Values, Would Ask Me a Question Like This

F7

* Teresa Steel: Chained Melody F7 * Jacob Korczynski: Psychedelia and the Site of Cinema

F7

* Markus Miessen: The Violence of Participation: Spatial Practices Beyond Models of Consensus F7 * Andrew Berardini: To A From Z F7 * Cliff Lauson and Lawrence Weiner: Vancouver from the Outside In:

Part One F7

* Lisa Marshall: Where Art Meets Design

F7

* Johan Lundh: Collective Conscious

F7

* Kristan Horton: Drawing of a History of World War One

F7

* Vasif Kortun and Matthew Schum: Vasif Kortun: Istanbul qua

Istanbul F6

* Hadley+Maxwell: (Find us at the kitchen door) at

unitednationsplaza

F6

* Maria Fusco: The Penalty for Perfidy

F6

* Maria Fusco: There is little respect for those who claim that Superman is not Clark Kent: Fiction, Criticism, and the Art of

Anti-Suspense

F6

* Makiko Hara: Rethinking a History of Tokyo Art Speak

F6

* Matthew Stadler: Don't Take Any Jobs

F6

* Matthew Stadler: Reading Notes for Don't Take Any Jobs

F6

* Mark Wallace: From "Notes from the Center on Public Policy"

F6

* François Perrin: Beneath the Hotel, the Beach

F6

* Kristina Lee Podesva: A Pedagogical Turn: Brief Notes on Education

as Art F6

* Micah Lexier: The Sentence is the Page Number

F6

* Piero Golia and Eric Wesley: Basin Climbing: An Interview with Mountain School of Arts F6 * Aaron Peck: If You Build It, They Will Come

F5

* Michael Eddy: Taking Down the Names of the Anonymous Movement

F5

* Kathleen Ritter: Welcome to the Wild East

F5

* Robert Eikmeyer and Slavoj Žižek: The Day After: An Interview with Slavoj Zizek F5 * Christian L. Frock: From (Starry Eyed) Vision to Nail

F5

* Jesse Birch and Nicholas Brown: The Absent Enthusiast

F5

* Nate Lippens: Body Doubles F5 * Joseph Mosconi: Appealing Biography

F5

* Colleen Brown: There Is a Horizon F5 * Sara Mameni: Invasion of the Cybernetic Hand and Other

Predicaments

F5

* Liz Bruchet: Having Hired a Design Team, the Bad Slept Well

F5

* Clint Burnham: Impossibility of an Island

F5

* Jordan Strom: Hand in (Invisible) Hand: An Editorial

F5

* Cheryl Meszaros: Marked as Withdrawn

F5

* Patrik Andersson: Against Stasis F5 * Jordan Strom: Sink and Swim: An Editorial

F4

* Rebecca Lane: "New" Museum of Modern (Contemporary) Art

F4

* Fionn Meade: Ulterior Garden Motifs

F4

* Warren Arcan: Dialogue & Distance F4 * Luis Camnitzer: Art of the State F4 * Christopher Brayshaw: Feldmann’s Tact

F4

* Kristina Lee Podesva: Time & Space in a Biennial for Chechnya

F4

* Cao Fei and Jordan Strom: Your Utopia Is Ours

F4

* Barnaby Drabble: We Want Everything: Assembled Thoughts on Artist-led Culture in Zürich F4 * Susanna Haddon: Offensive Art F4 * Caroline Busta: Inside Out F4 * Eli Bornowsky: Notes on the Politics of Aesthetics

F4

* Adam Harrison: Mark Lewis’ Moving Pictures

F4

* Antonia Hirsch and Melanie O'Brian: On Second Thought: Looking Back at the 4th Berlin Biennial F4 * Colin Browne: Lettre de Paris F4 * Zoë Gray: Secret Svengali F4 * Robert Kleyn and Jordan Strom: Iterations of a General Practitioner: An Interview with Robert Kleyn

F3

* Irene Loughlin: Conversationally Arresting: Ethics, Empathy, and

Identification F3

* Cliff Lauson: Affirmations and Refusals

F3

* Jessie Caryl: Tower Ghosts and Swing Shifts

F3

* Anne Lesley Selcer: The State of Refuge in Vancouver

F3

* Jordan Strom: Work in Progress? F3 * Randy Lee Cutler: Through a Mirror, Darkly

F3

* Kimberly Phillips: Fetishism, Curiosity, and the Work of Brian

Jungen F3

* Peter Culley: The Ghost Whisperer: Myfanwy's Time in the Woods

F3

* Michèle Faguet: A Brief Account of Two Artist-Run Spaces

F3

* Lisa Coultard: Reiterative Revolution

F3

* Robert Linsley: Surface, No Support

F3

* Lance Blomgren: Catastrophic Narratives

F2

* Lindsay Brown: Now We Collect Situations

F2

* Lorna Brown: To Live Real Boredom, One Must Have Style

F2

* Brady Cranfield: By All Means Listen By All Means: Reading _Aural

Cultures_ F2

* Lu Jie: The Long March Project

F2

* Seamus Kealy: The Number One Galleries in the Number One City

F2

* Donato Mancini: The Bondo Between Word and Image

F2

* Eleanor Morgan: Derrida's Garden F2 * Aaron Peck: Farm Arugula with Figs: Bay Area Bazaar, The RED and the GREEN, and Ripe Family Supper F2 * Andrew Power: Termini F2 * Lawrence Rinder: Remain in Life F2 * Monika Szewczyk: Departures from Death

F2

* Shepherd Steiner: Where World View and World Lines Converge

F1

* Jordan Strom: Fillipics F1 * Colleen Brown: The Relational Meme

F1

* Clint Burnham: No Art After Pickton

F1

* Antonia Hirsch: Someone Cares F1 * Marina Roy: As the Hammer Strikes

F1

* Jayce Salloum: sans titre/untitled

F1

* Monika Szewczyk: Strains of thought in Antonia Hirsch's World Map

Project

NA

* Free Pussy Riot NA * Kathy Mezei: Shadows and Blind Spots
: Viewing the Domestic

Interior
 NA

* Berin Golonu and Ahmet Öğüt: Between the Scaffold 
and the Ruin: 
Ahmet Öğüt’s Exploded City


NA

* Grace Ndiritu: The Healing of America

NA

* Ariella Azoulay: Different Ways Not to Say Deportation

NA

* Jaleh Mansoor and Penny Slinger: Penny Slinger: Exorcisms

NA

* Raven Chacon and Guillermo Galindo: Sound, Silence, and Process

NA

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ISSN: 1715-3212

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