McKenzie Wark’s Capital is Dead (Verso) launches in New York on October 9th and later in the month in London (21st TATE Modern, 24th Foyles). This note is just a small celebration of that fact, linking to the conversation published in the current excellent issue of TANK magazine and here: https://tankmagazine.com/issue-80/features/mckenzie-wark/
Capital is Dead is an urgently rewarding read, as well as a summation of sorts for the author and much of her work in this century. This clip from the published text should alert you to the unorthodoxies it engages and the energy applied too!
The New Vulgarian came out at about 4000 words in the end, Continue reading “note_22 With McKenzie Wark for TANK; radical vulgarity vs “genteel Marxist… cops” ;)”
EXCELLENT ESSEX In praise of England’s most misunderstood county by Gillian Darley Old Street Publishing, London. 17 Sept 2019
Gillian Darley caught my attention some years ago with her positivity towards that “most overlooked and undersold of counties”; Essex, which she presented without the usual preface of undermining caveats. “Surprisingly, Essex is rather self-effacing”, Darley wrote, its “delight based on anomaly and paradox.” The part of Essex I have come to know intimately; the River Roding, its valley and catchment, which runs through the north west flanks of an exceptionally rich cultural landscape into London’s most vital parts, exemplifies these qualities. Darley’s refreshing words appeared in her review of an updated Pevsner guide in the London Review of Books (2007) which was, it turns out, also the trigger for Excellent Essex itself.
Titles and terms; I’m as troubled by the ‘excellent’ here as I know you are. If it’s a reference to a phrase or shorthand then I don’t get it. In any case, how does Superb Sussex, Brilliant Berkshire or ‘You’re Beautiful’ Yorkshire sound? Then there is the more elemental problem of a book, any book, about a county. Do we still do that? It’s not that a comparative counties schtick would be better or any less old-fashioned; both belong to cultural realms last evidenced half a century ago. Indeed, Darley refers admiringly to the photography of Edwin Smith which appeared in Gerald Scarfe’s Shell Guide to Essex (1968), in the series edited by Johns Betjeman and Piper. All of which feels fustily antique.
In somewhat belaboured contrast, Darley draws her book to an end with A House for Essex, the architectural curio commissioned by Alan de Botton, produced by architectural new-wavers FAT and artist-mascot Grayson Perry, and located in Wrabness. Darley writes; “The more I think about Julie Cope (Perry’s ‘Essex-girl’ name for it) the more she emerges as a figurative Essex.” By this she means the knowing vulgarities and devil-may-careness of it as well as something more profound. Darley’s figured Essex “took a journey out of one Essex into another, towards a wider more generous world.” This is an Essex I recognise; “belonging yet not-belonging, absurd yet admirable … open to ideas and experiment, making it fertile ground for alternative ways of living and favouring the independent-minded”. Qualities of a place worthy of a book, in fact. Continue reading “note_21 Gillian Darley’s Essex; meanderings (in lieu)…”
Rivering the Roding started in the mud above; September 2014, as you can see if you scroll to the bottom (this one of many* returns!). These tweets are obviously incidental scraps but they do suggest or ghost if not exactly tell a story (again; bottom up). It’s a story about London, thinking like a river, which requires articulation (#rivering) and for me to show what such ‘thinking’ might be. I am coming in to land (circling back and now very close to the muddy confluence), and yes, you can start to hold your breath. Please 😉 Continue reading “note_16 #Rivering 2014-2019 (scraps, almost there…)”
My young connoisseur -or collector of urgent life-impressions and artful invention- has begun school-life so close to the TM that a liquid-chocolate balm combined with ‘two rooms’ has become a fixture in our lives. In the process, he has elevated El Anatsui to quite a pedestal, but I continue trying my best to broaden his horizons. Bruce’s revolving head, tick, Bruce’s Violent Incident, getting there, Bruce’s dogs, well; there’s time…
Of course, these are not Les Chiens de Nauman. But those in the Art Room selection reminded me recently of their spirited precedents in Dominique Gonzalez-Foerster’s TH.2058. I was led there by a number of things; my own work-in-progress (articulating or #Rivering the Roding), and thus echoes of the river-beggaring I did floodplain-to-floodplain in Rotterdam; a ruined world of mud to be embraced with curiosity, reminded of that when receiving Defne Ayas’ archive of her WdeW years; Blessing and Transgressing; A Live Institute, which includes that first use of ‘rivering’ as a way of trying to articulate muddy-footed actualities with urgent recognitions of coming urban life, by a recent taste of DG-F’s work which reminded me of how much there is to enjoy and admire in it (esp. with a clear view of its span), close rubbing-ups against Vila-Matas (about whom much more some day, the writerly intimacies are too elemental. Dostoevsky once more or less literally saved-by-enabling my life, a very long time ago. V-M is a similar interior intimate on an extremely short list). They, as you know, have been working together since 2007 (when only Bartleby & Co, perhaps Montano too had been translated into English), and so I found myself thinking about TH.2058, a work that has remained with me more as a puzzle, or query, than a settled memory, or answer. Continue reading “note_13.1 Les Chiens Nauman/ tears in the rain in the context of catastrophe/ DG-F TH.2058”