Un magazine 9.1

Un magazine 9.1
For issue 9.1 we are seeking proposals of writing in the form of articles, interviews, fiction and
reviews. We are also calling for proposals of artist pages.
Comment
Writers are encouraged to consider comment as a mode (rather than a theme) for issue 9.1.
Who is commentary or voice available to and when is it available?
Where does truth-telling occur in a community where there is reluctance to take a stance?
More broadly, since we are encouraged to take a position within democracy, do we experience a
false sense of hyper-liberation rather than radical enunciation?
Subject
In issue 9.1 we want to address what Isabelle Graw calls the “contemporary sense of a
distorted and contested subjecthood” within art.
“How could figuration--the use of the mannequin, for instance – address" such a state of affairs?
One could say that Genzken's and Harrison's anthropomorphic sculptures recognize and
exaggerate the animation of the artwork as a cultural condition. These objects are designed to
do what the artist of legend is conventionally expected to do – to perform, expose, and market
herself. Since these duties have become widespread not only among artists but among most of
the population, then perhaps the mannequin is actually better equipped than the artist--or the
viewer, for that matter – to execute them. The exhausted self, beaten down by networking
fatigue, is displaced by a stand-in. The mannequin does what we, like Melville's Bartleby, would
prefer not to. “
Isabelle Graw, ‘Ecco Hommo; art and subjecthood’, Artforum, 2011
Subjectivity as capital
“Capitalism launches subjective models the way the automobile industry launches a new line of
cars.” Guattari, La révolution moléculaire, 1977
Iris Francis, Self Portrait, 1940, Art Gallery of Western Australia
Subjectivity as means of resistance, whether engaging with identity politics or the
expression of a position not yet articulated
"I am looking for the body, my body, which exists outside its patriarchal definitions. Of course
that is not possible. But who is any longer interested in the possible?" Kathy Acker, ‘Seeing
Gender’, Critical Quarterly, Vol. 37, Winter 1995, p. 84
Emily Roysdon, Ecstatic Resistance http://emilyroysdon.com/index.php?/hidden-text/er-text/
“The hermaphrodite as ‘revolutionary’ body – sculpturally, as a figure that can only be conceived
in the round, and politically, as a figure who “excludes the exclusion”. The hermaphrodite
exceeds by refusing to reject, resisting the very economy of inclusion/omission and
visibility/invisibility that sustains systems of domination.”
Joanna Fiduccia, Tauba Auerbach, Parkett, vol. 94, 2014
http://www.parkettart.com/downloadable/download/sample/sample_id/349
http://unprojects.org.au/content/1.magazine/2.contribute/0-Fountain.MOV
Gesture
Is gesture directly attached to a subjective position?
Is gesture fetishised affect or is it radically free from predetermined logic?
“Only as a mutation of subjectivity, as the crystallisation of a new existence, gains consistency
can one attempt a new relationship to economic, linguistic, technical, social, and
communicational flows.
To produce a new discourse, new knowledge, a new politics, one must traverse an unnamable
point, a point of absolute non-narrative, non-culture and non-knowledge. Thus the (tautological)
absurdity of conceiving production as the production of knowledge by way of knowledge.”
Maurizio Lazzarato, Signs and Machines, Semiotext(e), 2014, p.18
Jutta Koether, ‘Mad Garland’ in Art and Subjecthood, Sternberg, 2011
http://bortolamigallery.com/site/wp-content/uploads/2014/09/Jutta_Mad_Garland.pdf?64f926
un Magazine 9.1 PROPOSAL APPLICATION FORM th
Proposals are due 5pm, Wednesday 26 November 2014, late or incomplete submissions may not be considered. Contributor’s details: Name: _______________________________________________________________ Phone: _______________________________________________________________ Email:________________________________________________________________ Please submit this form with the following proposal material: 200 word outline of your proposed submission (Include names of artists, curators, exhibitions, venues and exhibition dates of projects discussed as applicable) • A brief example of previous writing • Brief CV • 2-­‐5 images (small jpeg files only) if relevant • For visual artwork proposals, include an example, mock-­‐up or description of your proposed (optional) Please state any prior involvement with the project or any prior relationship with any of the artists, curators, institutions or organisations in the proposal. Proposals may not be considered if a conflict is apparent. •
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____________________________________________________________________ un Magazine mentorship program The editor of issue 9.1 will offer one-­‐to-­‐one mentorship for a small number of contributors. The mentorship program offers the benefit of working with an experienced writer in the drafting and development of your piece for the publication. If you wish to be considered for the mentorship program please indicate: (Please circle) Yes No _____________________________________________________________________ TO APPLY Please email all proposals and editorial enquiries to the editor: [email protected] You will be informed of the response to your proposal by mid-­‐December 2014 and the deadline for final copy will be advised, however it is anticipated to be in February 2015.