Perpetual Interference

The Ecology of Visibility

A sculptural
depiction of
a modern lone
figure at
human scale
        using language as both content
        and raw material

“the rejection of the continuum”

Vincent van Gogh’s landscapes 

People were permitted
to come and go
as they pleased

part subprime pastoral,
part neo-Sadean glitchcore,
part supra-worldly

“scene of the crime”

I had grown bored of doing readings
I had grown bored of doing readings
I had grown bored of doing readings
I had grown bored of doing readings

I could feel myself

A Melancholic Dance

(paintings of pipes and ropes)

All kinds
of wires and pipes, really;
structural appendages
hidden from view
enable rooms to move
or stand still
in order  
the peregrinations,
whether they take the form of latherings, pronouncements, observations,

(stillness and quietude)

“When I document a city,
it is similar to filming
a human being,”

(Reading the Room) (Reading in the Zoom)
(Reading at the Zoom)
(Reading with the Room)

Silent Spring (1962)

“temporal aesthetics”

than speak
of a practice
let’s look (...)

“satellite of inertia”

multiplicity of screens and projections that illuminate his characters in the dark

in the aftermath
of a missing past”

what appears
to be most necessary
to achieve

The structure of the filmic flesh

Michelangelo Antonioni
Rainer Werner Fassbinder
Robert Bresson
François Truffaut

An Incontinent
and Percolating

“Everything propagates, circulates”


lived experience
    of the redundant,
    the precarious,
    the expelled,
    or what writers have called                     “surplus populations,”

Study for a Messenger
Sea and rocks Untitled (Leaves, window blinds, NY)
The Seine
Piazza San Marco
Hotel du Nord
Collage, Number 116 E
Gray Terrain
Still Life

Gloria Vanderbilt Foundingfathersfollyday
Heart of Light
Still Life with Grapefruit and Seltzer Bottle
Architectural Cadence
No Passing
Man with Logs
Man in Vain
No Turns Permitted
Piece Work
Pink Field
Nat King ColeMale and Female
Eleanor & Barbara
Form Phases IV

(Form of man in chair)
(Study of a Seated Sleeping Woman)(Street Scene at Night)
Moonlight at Sea; A Passing Squall

The Little Bridge of Sighs
Farmhouse by the River
The Little Charge

(Study of a Landscape with River and Hills)
(Study of a Landscape with Road and Houses)
(Study of Landscape with Houses)
(Study of a Lakeside Pavilion)(Study of Jo Hopper Reading)(Standing Female with Blonde Hair and Holding Drape)

This has always been the case: once an action is recounted, for intransitive

(dimensions vary with installation)

  50 × 40 cm
51 × 34 × 24 cm
93 × 70 cm 70 × 125 cm
3 5/8 x 21 3/4 x 16 1/2 inches (9.2 x 55.2 x 41.9 cm)
104 x 100 inches (264.2 x 254 cm) 96 x 15 inches (243.8 x 38.1 cm) and 96 x 42 inches (243.8 x 106.7 cm)4 x 6 inches (10 x 15 cm) each; installation 35 1/2 x 102 1/2 inches (90 x 260)36 1/4 x 25 5/8 inches (92.1 x 65.1 cm)8 1/2 x 11 in. (21.6 x 27.9 cm)

What Do People Do All Day
Significant Other 
Feathered Changes, Serpent Disappearances
Two Hands on Earth 
Ephemeral Building Structures 
Halfway Between Opposite Ends 
Permanent Playfulness 
Soft Power 
Sometimes doing something poetic can become political and sometimes doing something political can become poetic 
New wonder, go under
New Phone for Every Week 
Quand les livres deviennent attitudes 
A cycle of time we don't understand (reversed, invented, and rearranged) 
Song of Growth Beginning
the end neither & the otherwise betwixt & between the end is the beginning & the end
The Hotel, Room 46
How Many Women Had One-Person Exhibitions at MFC-Michele Didier? 
Every measure of zero (Nazca beyond the plain) 
I Know You Have A Lot of Strength Left
Variable and Invariable
No Mold For White But No Mold For Fire
I Don’t Know I’m the Author I Can’t Say I’m Looking
Horizonte de Eventos
The Restless Earth Under the same sun
Little lower layer
Really Useful Knowledge
We believe to be a land and the truth is we are barely a landscape Concentrations
We are each other's air
West is everywhere you look 
They Watched Us For a Very Long Time
Ears go deeper, than eyes can see
For Each Light a Shadow
Extended Arguments 
This is no time for saluting flags
Those who control the past command the future – those who command the future conquer the past
I suppose that sometimes you have to burn the sky 
Vistas a perder de vista

« the studio frames 
the reality and truth
of an artwork »

« the work of art
ultimately belongs
in the studio,
because it is only
in that space that
one can come to understand
the process that made
the work possible »

The neon colors use are not accidental

to validate what belongs to the category of art
all his unspectacular
material was enshrined
as such.


turning objects,
and anything else
into artworks

he has always embraced
his sometimes-straitened life

a transformational power
that can turn them rapidly
from spectacle to weapon.

PSEUDO-calligraphic shapes
all the action
behind the scenes
was over, and the residue,
the aftermath, are what the visitor now encounter.

« The artist’s interest
goes beyond painting
as a finished object»


(a huge profusion of
xerographic works,
postal art,
occasional billboards,
and performances,
an ongoing record of his relationship with images)

an apartment that could be mistaken for an archive, overrun as it was with artworks, magazine and newspaper clippings, notes and notebooks; decades hoarding and editing thousands of fragments, many of which ended up glued to the more than one hundred and thirty notebooks, books of various shapes and sizes in which he worked daily. the  process was singular—and nonlinear;

images clipped in the 1970s
might be fished out and juxtaposed or overlapped with others

(a page that had seems

the limit was


dramas constructed by the writers pen
(living room)
the footage of everyday life;
constructed by editing,
the short story of a investigation
when a scene ends with his desire,
his intention,
nothing to hide.
contexts of space,
baroque figurative bronze,
different from every side.
the constant shape of the cube.

neutral in terms of surface.
the space of the room
becomes another room with
the total space
altered by colors;
red, blue  maroom,
or bugundy.
free ride,
type of particular shape,
particular love,
spetacular movement,
polychrome on both sides.

{untitled, 1967}
the duality of thing
and allusion,
ambiguity built into the humanitarian sentimentality.
we need to find a better term, transparency   & translucency,
(extroverted inclusiveness)
distribution of volumes

there is
a good reason
why it
has survived;

exclusive specialness
their superior perception

new forms is not a issue.  object-type.  piece of canvas, useful means,so-called minimal or object art.what remains problematic is?imperative for the well-built  purely decorativeefficiency is unparalleled  get rid o asymmetricalphysicality of the existing units;

the process in art   is   not visible.« giant soft fan-ghost version » the elements were cast outsidethe flags and targetsthe background became the wall.neutral   becoming   actualan image becominga thingthe complete manifestation of the structurethere is no question  there is no question  « neither order   nor disorder »rain, Sakamoto,  Kyoto, Kurosawathe collision between Glass & Enowhy does my heart   feel so badly?i’m going to turn off my Whatsapp before it starts to annoying you;that’s what this is about to be.the trouble of living  real lifeno plan floor  no floor  a profusion of selvesthe situation is now more complex and expanded.negative, boring, nihilistic.the centerless labyrinth of mirrors.multiplicity of relations.take it backtake it back  take it  take  sit down  child in time  i should be proud  the price of paradisethe very incoherence of the do-it-yourself,  this what democracy looks like  visual demonstration  language of the spectacle  hyperbolic radio  fake news through social mediaunified messagesome contradictory, but all interconnected  hegemonic power  evocative and poetic description  little to explain whats is under the table  Birmingham,Pentagon,  Mexico City,  Madrid,  Rome,  Wall Street,  West Germany,  (genius for stategy dramaturgy)

beaten by police,
attacked by dogs,  
blasted by fire hoses,
of « the people » 
in time and space


« You may find it hard to get started on whatever tasks you are expected to complete this week, mainly because you think they are boring. If you can, put them off until tomorrow. If you can't, get others to help you so you get a few hours to yourself. »

>post-gender sensibility<

< ticket}{exhibition> 
encyclipedia grid
(abstract art)  
haniver jinx  
blame it on morandi
contra diction
(speech against itself)  
untitled 3
untitled 2
we’ll see how everything reverbebates counter acts
chromosaturated social contract  
white stupa doesn’t need gold
miter, ray, trans ray  
picture made by my hand with the assistance of light  

˜make yourself unnecessary˜

vague pure affection
a museum is a school

superficie bianca  
daddy, daddy  
index  art history lesson

installation #1
drinking song  
straight from the house of trophies
posters for the museum of the man of the northeast  
all clothes of a woman
colonial and indigenous names of coca plant
the circle of fires  
rehearsal for a reunion  
four thousand blocks  

(ten dollar foxes, white on red mask)  
all in the familyg
rosse fatigue  pan de azúcar  
tristes trópicos  
untitled (delicate)  
untitled (breach)  
mirrored room  
untitled in the rage untitled (casual power)  
a logo for america  
the new black yoga
this video documents 

“animation for an electronic billboard
claims the identity of the entire American continent as its own”

over the course of two tweeks
five decades 
public art fund

messages to the public
the 42-second sequence  
date: 1987

(money, money, money)
justaposed photographs
    culled from mass media
with pithy slogans in a subversive attack
record corporate
(and art-market)  
cultural stereotypes to underscore
persuasive power or representation  
(inkjet print on vinyl)  
(gelatin silver print in walnut frame)  
(b. 1977, Tel Aviv)

brief history of US interventions in Latin America since 1946since 1946 1946« statue of liberty covered with hamburgers »enemy’s enemy: monument to a monument(lawrence)  -decide who you are-five newspaper rolls, metal holders, and ceramic tiles(b. 1978, Sanct Spíritus, Cuba)overall dimensions variableplaces of rebirth« i can’t work like this »  
Television commercial for communism
Television commercial for imperialism
Television commercial for capitalism
(something to believe in)
bleach and glow
evidence of a farce
« time and the economist »
series of vulnerabl


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“inventing a story
is part of the reason
we started working
with my family”

“a moment happening; what I’m trying to do with my work is really try to sandwich these ideas into a clear understanding of how technologieshave always existed within our community; there are a lot of entanglements that are hard to parse; you don’t have to install it on your computer in order for it to work, which is important to me because, we put the program on a zip
drive that I can pick up and take somewhere else, this kind of mobility, conceptually and actually. we are interested in taking what we have, no matter how traumatic or joyful, and seeing where it goes. the conception is really at the base of the things that we are making.”

literature is that neuter,
that composite, 
that oblique
into which every
subject escapes, 
the trap where
all identity is lost, 
beginning with
the very identity
of the body 
that writes.

opening a newspaper each day reminds me of a passage in Franz Kafka’s diary that goes something like this: “This morning, I watched the destruction of the world as an attentive spectator, and then I got back to work.”

b. 1984 in New York, USA
Lives and works in Paris
b. 1985 in Bucharest, Romania
Lives and works in Berlin
b. 1977 in Governador Valadares, BrazilLives and works throughout the world
b. 1933 in Rio de Janeiro, BrazilLives and works in Rio de Janeiro
b. 1948 in Caetanópolis, Brazil
Lives and works in São Paulo
b. 1979 in Växjö, Sweden
Lives and works in Berlin
b. 1982 in Garça, Brazil
Lives and works in São Paulo
b. 1975 in São Paulo, Brazil
Lives and works in São Paulo
b. 1982 in Caracas, Venezuela
Lives and works in New York
b. 1976 in Santo Antônio da Patrulha, Brazil
Lives and works in São Paulo
b. 1977 in Malmö, Sweden
Lives and works in São Paulo and Malmö

(in fantasy there is room for radical possibility)
it will always be impossible to know, for the good reason that all writing is itself this special voice, consisting of several indiscernible voices, and that literature is precisely the invention of this voice, we cannot assign a specific origin:

nonfunctional exercise machines, and animated pictures i took of my skin in a video i projected over an entire wall. humanness is fundamentally an illusion, and in order to avoid normativity, we prefer to disassemble my own body; to take my skin, reanimate it into fluid waves, and make exercise machines that have their own artificial intelligence, machines that let you know that if you think you’re going to get a workout on them, it’s probably not going to happen.

attached to a photograph
meant to be consumed
in an ephemeral manner
(like a news story,
or pornography)
and keep it sheltered
inside his folders
for years until finding
a site that would
emphasize the fascination
that drew him to it
at that very first moment;
while most people
consume images
a daily


the disturbing impact
of an unfamiliar setting 
is intensified by 
the cool academic precision 
with which they and their environment are painted.

the dainty slice
of landscape could be
the backdrop of an early Renaissance painting, 
while the bells themselves, 
in their rotund
and glowing monumentality, 
impart a
mysterious resonance.