"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
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| Umělec 1/2012 | List of all editions. | ||||
"Beyond the domain of the obscure god lies the non-signifying chatter of unconscious numeric Pandemonium, where names are cryptomodules, meaningless packets of actual information, immanently productive machine-jargon."
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Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
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American history is filled with stories about how to hide chauvinism and expansion behind lofty ideals of inevitable fate, of a manifest destiny to settle paradise; how to endlessly, shamelessly, and by force expand the boundaries of one’s garden. Joyce Hatto, too, had a nearly unbounded approach to reality, making nearly 120 recordings of piano concerts in her life. One of England’s greatest female pianists – or maybe not?
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Octavian Esanu looks at the acceptance and rejection of what is “American” in a non-American environment, against the backdrop of an unclear understanding of freedom and the historically growing confidence of American art, which quite possibly stands behind the seemingly universal concept of “contemporary art.” Where the colonization of the spirit through an emphasis on contemporaneity still encounters resistance, the attractiveness of American shoes perhaps presages the strongest export – packaging, boxes, frames and vehicles.
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