PRINCIPLES OF ANARCHITECTURE

“Completion through removal. Abstraction of surfaces. Not-building, not-to-rebuild, not-built-space. Creating spatial complexity reading new openings against old surfaces. Light admitted into space or beyond surfaces that are cut. Breaking & entering. Approaching structural collapse, separating the parts at the point – the point of collapse. Translating the diagram into its structural context. What’s beyond the building’s surface. Rather than using language, using walls. Looking through the thing. The ambiguity, what’s there & not, as much as the whole.”

– Gordon Matta-Clark, Manifesto (1978)

“All the blocks of houses on the barricaded street must have their outer perimeter walls knocked through in such a way that combatants are able to come & go by the parallel road to the rear, out of view & range of the enemy… When a house located on the defensive front is particularly vulnerable to attack, demolish the ground floor staircase & make openings in the floors of various rooms on the first floor in order to fire on soldiers who will storm the ground floor.”

– Auguste Blanqui, Instructions for an Armed Uprising (1868)

 

1. FORM FOLLOWS DYSFUNCTION

2. ACCUMULATION OF CAPITAL INTO FRICTIONLESS INTERSECTING PLANES

Utopia is a non-place the intellect retreats to in order to fail on its own terms & without contradiction.

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VENICE STATEMENT

After 30,000 years of market consolidation, the diagnosis. Hurrah! Global Alienation continues apace! Merci monsieurs RANDcorp-Delgado-Fukuyama-Zuckerberg. In a psych-ward far far away, the “Last Man.” Let us now shed a tear.  Continue reading “VENICE STATEMENT”

ARTIST’S HEAD IMPRISONED IN PLEXIGLASS

It’s the future

you’re already dead – an itinerant

anachronism

inside a vacuum tube,

inside the shape of facts-as-given.

When’s an idea not its own medium?

Certain there’re /only/

questionable things –

though less puzzled by them

than they are by you.

Here the cameras are turned to ensure

a reluctance more picturesque.

On the third day,

the news you’d forgotten, returned –

gripped by fear

of the crucial

/missed moment/ –

like the cryogenic avatar

who embarrasses us in dreams.

What dark /art/ possessed it?

In the future

already dead, you’re an itinerant

anachronism

in a vacuum tube

no-one will ever switch on.

Construed fact-wise,

these aren’t the only

questionable /things/ – the presence

of the camera, for example,

nautilus to its own inhabiting image.

Harmless as it seems,

history still revolts you.

Like a dog-hair coat,

like a contracted zero-hour.

This is a calculated

emotional response –

a /change in emphasis/.

But salvaged from reflections in an

/empty/ screen,

who will fathom it?

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