tsnoK

Recent contributions in this category

• Spam chronique for tsnok “Calories”

  No Pumps, No Surgery, No Exercises: 128 bit order processing.

• Spam chronique for tsnoK, “Vote”

  You have been selected for a cash prize: Fill the
  below:

• Spam chronique for tsnok “sticky eye”

  My name is Vera

  How are you today?

• Lullaby

  Annika von Hausswolff writes about an image by Ola Åstrand

  A reclined woman, her posture slightly askew. The image is cropped just below one breast. The other breast is not showing, assumingly resting intact just outside the frame. Actually, the perceptible breast is not there either. Not if you consider the place it ought to be in relation to the given anatomy of the body. The breast is hovering elsewhere. If you let your eyes glide along the outline of the body, it can be found to the right of the head. The nipple seems erected and points to the left. The breast looks like a spaceship about to be engulfed by a black hole.

• The Archive Gallery presents Laura Kikauka

  Honolulu Honky Tonk.

• A Happy Picture in a Sad Frame

  Olav Westphalen
   

• “the ‘means’ [le moyen] is also a means to achieve something other than its own end.” Ranciere, 2012

  http://vimeo.com/56662654…

• tsnoK says: Her collaboration with capital is a system error (posted 5 March 2012)

  The exhibition, Abstract Possible: The Stockholm Synergies at Tensta Konsthall and Bukowskis exposes a problem that both Swedish and international art criticism has had for quite a long time. Political exhibitions that don’t just represent opinions or document political situations, that work within the political – as, for example, Santiago Sierra does, or Maria Lind […]

• Cykel / Bicycle

  BY LINA PERSSON

  The world shrunk and I could visit my friend in Vänge whenever I wanted to. Places interconnect in new ways. There was a straight path through the forest between Halla and Viklau which was a kilometer shorter than the long route by car. With my bicycle I can easily stop, take a side route and see where the grown-over path leads. Daily commuting is repeated with variations.

• Mladen Stilinovic, An artist who cannot speak English is no artist, 1992

  Not only does the banner claim that “an artist who cannot speak is no artist”, thereby pointing at the linguistic paradigm of contemporary discourse of discourse critique – a discursive tendency which tends to promote ’interesting’, discussion-based art work (or – God forbid – conversation pieces), it also claims that the artist should speak a certain language.