35 documents
# 149
Disperse the Nation: Don Mee Choi’s Poetry Trilogy
Alan Gilbert
For Choi, time becomes fused and stuck around trauma. To experience profound grief is to be taken out of the flow of time, yet “temporal magic” is what allows for an escape from the inexorable and crushing movement of history: grief as resistance and resistance as grief. There are very good reasons to lose one’s narratives, both as individuals and as nations. One of the goals of experimental writing like Choi’s is to disrupt official narratives, histories, and images along with, more importantly, their meanings—although they’re more like presumptions and predispositions—because narrative is a prime vehicle in which to smoothly embed them.
e-flux Journal
Posted: November 5, 2024
Category
Literature, Migration & Immigration
Subjects
Poetry, Diaspora, East Asia
e-flux Criticism
Posted: November 23, 2023
Category
Performance
Subjects
Indigenous Art, Historicity & Historiography
e-flux Criticism
Posted: April 6, 2023
Category
Posthumanism, Sculpture
Subjects
Ceramics
e-flux Criticism
Posted: September 30, 2021
e-flux Criticism
Posted: May 27, 2021
Category
Data & Information
Subjects
Police & Prisons, Decolonization, Critical Race Theory
e-flux Criticism
Posted: May 29, 2020
Category
Utopia, Surveillance & Privacy, Photography, Globalization, Gender
e-flux Criticism
Posted: February 4, 2020
Category
War & Conflict, Museums
Subjects
Middle East, Archeology, Historicity & Historiography
e-flux Criticism
Posted: October 10, 2019
Category
War & Conflict, Sculpture, Bodies, Image
Subjects
Violence, Color
e-flux Criticism
Posted: April 5, 2019
Category
Photography, Race & Ethnicity, Image, Sexuality & Eroticism
Subjects
Queer Art & Theory
e-flux Criticism
Posted: December 20, 2018
Category
Photography
Subjects
Social Media, Everyday Life
e-flux Criticism
Posted: November 16, 2018
Category
Painting, Sculpture, LGBTQ+, Music
Subjects
Indigenous Art
e-flux Criticism
Posted: April 10, 2018
Category
Language & Linguistics, Installation, Bodies, Sexuality & Eroticism, Gender, Sculpture
Subjects
Fiction, Tourism, Video Art
e-flux Criticism
Posted: December 20, 2017
Category
LGBTQ+, Music, Utopia
Subjects
The Cosmos, Afrofuturism , Afropessimism , Futures, Libraries & Archives, Drugs & Psychedelia, Science Fiction
e-flux Criticism
Posted: October 11, 2017
Category
Modernism, Sculpture, War & Conflict
Subjects
Textiles & Fiber Art, Craft, Mexico
e-flux Criticism
Posted: March 9, 2017
Category
Technology, Gender, Internet
Subjects
Human - Nonhuman Relations, Cybernetics
e-flux Criticism
Posted: October 4, 2016
Category
Design, Architecture
Subjects
Craft, Environment, Site-Specific Art
e-flux Criticism
Posted: July 5, 2016
Category
Painting, Religion & Spirituality
Subjects
Animation & Cartoons, Social Media
e-flux Criticism
Posted: March 17, 2016
Category
Language & Linguistics, Avant-Garde, Nationalism
Subjects
Poetry
# 71
Walid Raad’s Spectral Archive, Part II: Testimony of Ghosts
Alan Gilbert
Continued from “ Walid Raad’s Spectral Archive, Part I: Historiography as Process ”
… we can no longer simply explain or simply cure. 1
A city, perhaps like a person, remembers the most when confronted with its destruction. The aftereffects of trauma are a different story. They frequently give rise to individual and collective amnesias, along with the psychological symptoms that congeal when a traumatic experience is too painful for consciousness to address directly. In…
e-flux Journal
Posted: March 1, 2016
Category
Contemporary Art, War & Conflict
Subjects
Middle East, Historicity & Historiography, Libraries & Archives, Trauma, Lebanon
e-flux Criticism
Posted: January 5, 2016
Category
Posthumanism
Subjects
Science Fiction, Video Art, Poetry, Computer-Generated Art
# 69
Walid Raad’s Spectral Archive, Part I: Historiography as Process
Alan Gilbert
Paradise absent is different from paradise lost … 1
A city, perhaps like a person, always exceeds the myth of its origins. It’s not a coincidence that as a cosmopolitan city Beirut became synonymous with loss. It may be impossible to establish the beginning and end of the Lebanese civil wars. They are generally given the dates 1975–1990: from a 1975 assassination attempt on Maronite Christian and Phalangist leader Pierre Gemayel—and the immediate retaliation by his followers against…
e-flux Journal
Posted: January 1, 2016
Category
Contemporary Art, War & Conflict
Subjects
Historicity & Historiography, Lebanon, Middle East, Libraries & Archives, Trauma
e-flux Criticism
Posted: June 30, 2015
Subjects
Dada, Poetry, Black Feminism, Identity Politics, Collage
e-flux Criticism
Posted: March 27, 2015
Subjects
Commodification
e-flux Criticism
Posted: December 4, 2014
Category
Photography
Subjects
Libraries & Archives, Collage, Historicity & Historiography
e-flux Criticism
Posted: June 25, 2014
Subjects
Social Media, Historicity & Historiography
e-flux Criticism
Posted: November 25, 2013
Category
Drawing
Subjects
Humor & Comedy, Animation & Cartoons, Collage, Abstraction
e-flux Criticism
Posted: September 10, 2013
Category
Internet, Language & Linguistics, Photography, War & Conflict, Technology, Image
Subjects
Biennials, Middle East
e-flux Criticism
Posted: March 25, 2013
Subjects
Relational Aesthetics, Socially Engaged Art, Arte Povera, Retrospective
# 41
Allegories of Art, Politics, and Poetry
Alan Gilbert
1. Shifting the Landscape
Politics without the imagination is bureaucracy, but the imagination is never a neutral category.
The shantytowns built on the outskirts of Lima, Peru, are the product of civil war, economic turmoil, ethnic struggle, and ecological crisis. Populated by underemployed laborers from the city and displaced peasants from the Andes, frequently of indigenous descent, a number of these shantytowns were originally constructed in the 1970s. 1 In 2002, one of these…
e-flux Journal
Posted: January 1, 2013
Category
Performance, Contemporary Art
Subjects
Poetry, Occupy, Public Space, Socially Engaged Art
e-flux Criticism
Posted: December 13, 2012
Category
Painting, Photography
Subjects
Portraits, Family, Memorials & Obituaries, Collage