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MuthafuckaTwo

Sam King
John Niekrasz
Angel Escobar
Kristin Dykstra
Mohammed Khair-Eddine
Pierre Joris
Alice Notley
Dot Devota
Phil Cordelli
Norma Cole
Quinn Latimer
Matthew Klane
Hoa Nguyen
Lucas Farrell
Kazuko Shiraishi
Tomoyuki Endo
Forrest Gander
Sarah Lariviere
Michel Deguy
Wilson Baldridge
Anthony Hawley
Lisa Lightsey
Lewis Warsh
Ron Horning
Caitie Moore
Thom Donovan
Trey Sager
Brenda Iijima
Youna Kwak
Amelia Rosselli
Vanja Skoric Dewan
Deborah Woodard
Karena Youtz
Etel Adnan

100 copies, side-stapled w/ two-layer transparency/vellum cover
Edited by Mitch Taylor, mitchmailer AT yahoo DOT com
Designed by Cannibal Books, flesheatingpoems AT gmail.com
See also Muthafucka One: http://presspresspress.blogspot.com/search?q=Muthafucka

The Methexis of the Tenebrous

--after Adam Pendleton's Systems of Display

Least wish
For tankers subdivisions
Of labor control
No context yet exists
For this

It is the wind again
Blows a national
We grieving
Strategies substance
Grown black again

System growing blacker
Unclarified by who
The methexis
Of the tenebrous
Where we see only dust

Justice a line ran
Through it
Crossed it out
Preserved a content
Those below just below

The cut
Hung like the blues enacts
Hung like black frames
Fade to black
On a background

Of black paint
Mirrors inside them
Make history pop
With what we are not
And letters unfix.

For an Archive of the Future Anterior (Notes)

The creative exploration of these materials enacts a "weak messianic power" through which the world may be conceived differently. Perhaps one task of the artist/thinker is to make visible these powers of objects which should otherwise be perceived as corrupted by their commodity value, or by some prejudice about the sensibility and intelligence which produced them. To what extent is the future that we will want to have been (tense of the future anterior) a product of the senses (both a renewed sensibility and a coming to our senses)?

I have been thinking about how to reapproach cultural materials so that they may become active for something again. The return of "appropriation" in recent aesthetic practices seems to bring this problem to the foreground. Likewise, continued interest in archives, documentary practices, and attention to artifact through display and reenactment/live performance. These forms have pretty much defined art (and cultural production more broadly) in the aughts, so how may we think about these forms more specifically in terms of a dialogue about how art may determine, redirect, and reevaluate futures?

"Groundbreaking"

What makes something ‘public art’? Can language use alone adequately alter the frames through which we look at a site, or the ‘art’ there? Is there a way to see the urban environment that’s not mediated by money? What counts as an ‘intervention’? Can conceptualism alone achieve anything ‘real’ in a landscape such as this one? If I’m just watching some people ‘work’ how can I tell if it’s art? Are they doing art or making it, or neither? If the goal is to liberate private space for the commons, shouldn’t they also be taking over the cafe next door and giving away all the food? Are a couple of seemingly self-critical questions an adequate way to engage the various problems that such a project produce? Who is this action or art for? If not towards an artwork or product, then towards what?
--from BARGE’s “Groundbreaking"-Reflections, by David Buuck