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YVE-ALAIN BOIS 1
My position is that
parallel worlds look
obvious to those who
believe that
the artist
hasn't
wondered what happened
to function, as in,
"use
of the
objects."
But if I
practiced
those distinctions
over and over
it would be canned.
I imagine that's how
relations within Conceptual Art –
in other words, damaged goods –
are remembered.
YVE-ALAIN BOIS 2
We are all
historians who agree.
And I insist that the
grounding of
interrelated levels
is conative
and direct. Pre-reflexive modes
can be attributed
to a
conflict of
worlds.
The possibility that
expressive
stances frame our
persons is
a model of
Kant – for much less.
YVE-ALAIN BOIS 3: INTERVIEWS
are not
matters of contention,
dividing
us. But they are
idiosyncratic as they
tend not to pay much
attention to anyone else's
favorites.
To praise a few:
Have there been a dozen
Autumn Rhythms
by Giacometti?
TONY SMITH
Must be constructed?
Experienced on the turnpike?
Another way, if on the turnpike?
What is it?
A situation?
Calling it theater?
Airstrips and drill grounds
are, so to speak,
already near the
abandoned, derelict
car within us.
Airstrips and drill grounds,
moreover, in each case,
distance or isolate
their objects of intent.
The approach or onrush
directed at
that (car) that simultaneously
makes him the object
of
speculations
inconclusive.
ROBERT SMITHSON
A few miles downstream
he looks down
and takes several Instamatic photographs.
At this elevated vantage
he remembers seeing, recording
what's moving beneath him:
an over-exposed
sun become a
detached series of "stills."
Underneath,
nothing but a continuous
appendix
of
his own
perception.
Kept
on
flowing
through;
stood
listening.
MARY KELLY
I was doing a kind
the performers read;
it was very distantiated.
I would set up
in that barren room
with a chair -
melodramatic objects.
When I talk
I'm talking
it is done.
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Matt Turner lives in Beijing,
China, where he teaches poetry at Zhong Guo Di Zhi Da
Xue. He holds the MFA in Literary Arts from Brown
University. He has published in Aufgabe, Antennae,
onedit, Fence, and other journals. The work in this
issue is from his manuscript, Pleasure. He can
be reached at:
mateo.tornero@gmail.com
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