A tribute to Mark Fisher

One day of lectures at Spike Berlin

A TRIBUTE TO MARK FISHER 
Featuring Jeni Fulton, Jeremy Gilbert, Tariq Goddard, Shama Khanna, Christian Kobald, Carl Neville, Warren Neidich, Seb Olma, and Alexander Scrimgeour. Organized by Warren Neidich.

Saturday, 8 July 2017, 10am-6pm
Spike Berlin, Rosa-Luxemburg-Straße 45

 

Schedule:
10:00 AM Warren Neidich
Welcome

10:10 AM Tariq Goddard
Opening Remarks

10:30 AM Jeremy Gilbert
Reclaiming the Future

11:15 AM Seb Olma
Thinking the Future between Acid and Communism

12:00 Jeni Fulton
The pathology of Mark Fisher’s cultural pessimism

12:45 PM Christian Kobald
Nota conjuncta 
On some Romantic motifs in the cultural criticism of Mark Fisher.

1:30 – 2:30 Lunch

2:30 PM Carl Neville
Exorbitant Sufficiency (or some questions I would have liked to ask Mark Fisher)

3:15 PM Alex Scrimgeour
LondonunderLondon (2005)

4:00 PM Shama Khanna
MY CHEST WAS FULL OF EELS, PUSHING THROUGH MY USUAL SKIN (DESCENT INTO THE XENOCEAN)

4:45 PM Warren Neidich
Crisis Complex: Mark Fisher on the Otolith Group’s ‘Anathema’ (2011)

5:30 PM Round Table Discussion

6:00 PM Break

7:30- 11:00 PM DJ Party Tokhadyzckyz (Harmony Molina )

People
Shimabuku, Christmas in the Southern Hemisphere , 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Shimabuku, Christmas in the Southern Hemisphere, 1994. Courtesy: the artist and Air de Paris, Romainville. Photo: Photo Marc Domag

Places to Travel Slowly: An Interview with Shimabuku

An artist of chance encounters muses about the intimacy of dirt, world-record mountaineering, and art that opens up the body’s every cell.

Views
Whitney Claflin, Writer’s Block , 2023, vinyl on plexiglass, stretchfoil; four panels, each 119 x 119 cm. Courtesy: the artist and DREI, Cologne

Whitney Claflin, Writer’s Block, 2023, vinyl on plexiglass and stretchfoil. Installation view, Galerie Layr, Vienna, 2023. Courtesy: the artist and Drei, Cologne

Correspondences: Curated by and viennacontemporary 2023

Ringing out the summer, the Viennese art world’s own Philip Marlowe, Max Henry, sleuthed across the hardboiled city, looking for the traces of the evasive Neutral.

Discourse
Photo: Gucci SS 2023

Photo: Gucci “Twinsburg” SS 2023

Theory of Style: On Looking Like

What is it like to “like” in the era of influencer fashion? Does desiring to emulate mean accepting one’s artificial self? In her September column, Joanna Walsh considers the difference between looking and being “like.”

Views
Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Dineo Seshee Bopape, I Re-member Mama, 2023. © HAM/Helsinki Biennial/Sonja Hyytiäinen

Archipelago of Other Knowledges

Spread over a wooded coastal island, the second Helsinki Biennial posits flora and soil as more potent agents of politics than language-based art activists.

Things we like
VALIE EXPORT, Körperkonfiguration , 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

VALIE EXPORT, Körperkonfiguration, 1982, silver gelatin print, 119.5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy:the artist and Charim Galerie, Vienna

5 Shows On Our Radar

Spoilt for choice by Berlin Art Week and Gallery Weekend Festival? Spike tabbed through the capital’s stacked exhibition schedule for what to see with fresh eyes in the coming days.

Discourse
Britney Spears objects with an umbrella to a paparazzo’s behavior, 2006

Britney Spears to a paparazzo’s behavior with an umbrella, 2007

The Internet is Forever

In the mistake culture produced by an era of surveillance, our idea of the good isn’t defined by action, but its appearance, and the power to make truth boils down to who keeps the receipts. By Matilda Lin Berke

People
Anna-Sophie Berger,  Untitled, Alexander Berger 1979 , 2023, C-print, 162.6 x 106.6. cm. Courtesy: Anna-Sophie Berger and Emanuel Layr, Vienna. Photo: Kunstdokumentation

Anna-Sophie Berger, Untitled, Alexander Berger 1979, 2023, c-print, 162.5 x 106.5 cm. All images courtesy: the artist and Emanuel Layr, Vienna. Photos: Kunstdokumentation

Moral Fables: An Interview with Anna-Sophie Berger

Is legibility in art a violent demand? During her latest solo show at Emanuel Layr, Vienna, Anna-Sophie Berger spoke about bad faith, harmful language, and fashion’s rapport with death.

Things we like
Julia Scher, Greta , 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

Julia Scher, Greta, 2022, marble 40 x 76 x 30 cm. © Rolf K. Wegst. Courtesy: the artist and Drei, Cologne

5 Shows On Our Radar

Phones from a dog’s eyes, knock-off poetry, and archives archives archives: Spike’s editors recommend four shows and one walking tour during Munich’s marquee art event “VARIOUS OTHERS.”

Discourse
#76
Joan Didion’s pair of Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Joan Didion’s Celine faux-tortoiseshell sunglasses, which sold at auction in November 2022 for $27,000

Second-Hand Lifestyles

In times of it-girl inflation, everyone wants to live in a celebrity’s skin. Who better than Joan Didion to burst that bubble? Her spirit explains why style survives death and serious (prose-) stylists only buy Kim Kardashian’s shapewear.

Views
#76
Left: Pablo Picasso, The Sculptor , 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman , 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Left: Pablo Picasso, The Sculptor, 1931, oil on plywood, 285 x 96 cm; right: Pablo Picasso, The Supplicant Woman, 1937, gouache on wood, 24 x 18.5 cm. Both: © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Courtesy: Musée national Picasso, Paris

Sorry Not Sorry

Warming over Hannah Gadsby’s stand-up Picasso takedown from 2018, “It’s Pablo-matic” undermines the Brooklyn Museum’s own staff and even gatekeeps the privileges of non-expertise.

People
#33
Nicole Eisenman, Sloppy Bar Room Kiss , 2011, oil on canvas, 99 x 122 cm. Courtesy:  the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Nicole Eisenman, Sloppy Bar Room Kiss, 2011, oil on canvas, 99 x 122 cm. Courtesy:  the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer

Heavy Painting

Joanna Fiduccia’s portrait in Spike #33 of Nicole Eisenman, now the subject of a retrospective at Museum Brandhorst, Munich, snapshots her first forays into printmaking and her opening of the body unto intimacy.

"The 80s was the last period when low self-esteem was a normative response to authority"

Essay: The Last Great Era of Low Self-Esteem