V
General Purpose Criticims
Kyiv and Gaza are twin places, who produce dispossesed subjects of opposing form. The Palestinian child becomes depersonalized. An image of a mutilized corpse in rubble through a glowing phone screen, or the glare of that screen reflected in the viewer’s surroundings. Ambient brutalism teleported to a dissociated foreign environemnt.
An uncomforable thought with a sinsiter tone: The white Ukranian e–girl is a survival student abroad. She is a sexy victim. Her subjectivity is easier for Europeans and Americans to play out their own concepts of self through, as if in a thought experiment or a mission in Grand Theft Auto.
It doesn’t really matter. The MK–80 Bomb is General Purpose.
Chicago is a sister city, under the parent company.
Ruba Al–Sweel, a fellow industry plant over at POST POST POST, loves to critically quote that tweet where tech oligarch Elon Musk is paraphrasing game theory, saying, “the most entertaining outcome is the most likely.”
I got kicked out of art school, then was snuck back in throughout Spring Semester by all of the students and faculty.
Everyone badged me past security and let me store my bags or my furniture in their studios while I worked on finishing my thesis exhibition. The project: a lounge space full of show posters that point to nothing, sound, and objects titled “USELESS ON PAPER,” occupied a large space visible through the SAIC-logo-branded widow in the exhibition space at 33. S Wabash.
The window was treated with an adhesive vinyl print, but that somehow wasn’t solid enough.
A ambient color field painting hung on unstreatched canvas as a sort of privacy screen, to demarcate space through the window.
I’m propping myself up on the mythology embeded in forms because without my mythology, the culture vultures are picking me to bone, turning me into carrion or an ad.
Merryn Omotayo Alaka’s radiant suspended post–mosaic disc made from pink and green vinyl embedded with decorative bronze earrings hung in the window to the other side of the museum–like space’s security desk. A ceremonial headrest, similar to functional objects found in the museum’s African wing, but shaped like two See–No–Evil Monkey unicode emoji at its base, delicately supported Merryn’s sculpture of a her hair comb. The See–No–Evil Monkey symbol itself dates back to 17th century Japan as an animalistic cartoon teacher in scrolls.
An uncomforable thought with a sinsiter tone: The white Ukranian e–girl is a survival student abroad. She is a sexy victim. Her subjectivity is easier for Europeans and Americans to play out their own concepts of self through, as if in a thought experiment or a mission in Grand Theft Auto.
It doesn’t really matter. The MK–80 Bomb is General Purpose.
Chicago is a sister city, under the parent company.
Ruba Al–Sweel, a fellow industry plant over at POST POST POST, loves to critically quote that tweet where tech oligarch Elon Musk is paraphrasing game theory, saying, “the most entertaining outcome is the most likely.”
I got kicked out of art school, then was snuck back in throughout Spring Semester by all of the students and faculty.
Everyone badged me past security and let me store my bags or my furniture in their studios while I worked on finishing my thesis exhibition. The project: a lounge space full of show posters that point to nothing, sound, and objects titled “USELESS ON PAPER,” occupied a large space visible through the SAIC-logo-branded widow in the exhibition space at 33. S Wabash.
The window was treated with an adhesive vinyl print, but that somehow wasn’t solid enough.
A ambient color field painting hung on unstreatched canvas as a sort of privacy screen, to demarcate space through the window.
I’m propping myself up on the mythology embeded in forms because without my mythology, the culture vultures are picking me to bone, turning me into carrion or an ad.
Merryn Omotayo Alaka’s radiant suspended post–mosaic disc made from pink and green vinyl embedded with decorative bronze earrings hung in the window to the other side of the museum–like space’s security desk. A ceremonial headrest, similar to functional objects found in the museum’s African wing, but shaped like two See–No–Evil Monkey unicode emoji at its base, delicately supported Merryn’s sculpture of a her hair comb. The See–No–Evil Monkey symbol itself dates back to 17th century Japan as an animalistic cartoon teacher in scrolls.
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