(nothing is/as) PRESENCE
(nothing is/as) ABSENCE
Burkhardt M + Höfer D (2017) All and Nothing. Cambridge, MA: MIT Press.
Martin Creed, Work No. 227: The lights going on and off, 2000
“In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.” 1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours...”
(Kenneth Goldsmith, Uncreative Writing)
Goldsmith K (2011) Uncreative Writing: Managing Language in the Digital Age. New York, NY: Columbia University Press.
“I was interested in work that seemed to engage with people in a way that implied long spaces of time… a classic strategy was to make a film that would last a long time. Warhol made one that lasted 24 hours. This one was going to last 50 years. So this was made using the idea that cheap paint automatically changes color over time. I selected something particularly cheap. Gull White, flat, interior latex, by Magicolor. And this is just painted on the paper, and outlined to form the area of a movie. There’s no way to measure the change that takes place in the Yellow Movie. Except that movies always happen and take place in your imagination.”
(Tony Conrad, interview with MoMA)
Tony Conrad, Yellow Movie 2/23–24/73, 1973
Peltomäki K (2010) Situation Aesthetics. Cambridge, MA: MIT Press.
Michael Asher, La Jolla Art Museum, 1969 :::