#41 Autumn 2014

Spike 10th Anniversary Issue. And it's about Time.

Polish artist Piotr Uklanski talks to Vienna Actionist Hermann Nitsch about painting, death, and sex. Choreographers Meg Stuart and Adam Linder meet for an interview about the future of dance. There are profiles of Laura Owens, rediscovered punk writer Kathy Acker, and the filmmaker Romain Gavras. Timo Feldhaus writes an essay about the desire for proximity in contemporary performance art; Jussi Parikka sees media archaeology as an alternative to current accelerationist thinking; plus reviews of exhibitions in Vienna, Berlin, Kassel, New York, and elsewhere.

"nature after nature" at Fridericianum in Kassel, Yvonne Rainer at Raven Row in London, Camille Henrot at Kunsthal Charlottenborg in Copenhagen, Le Mouvement in Biel, Korakrit Arunanondchai at the Mistake Room in LA
Artists' Contributions
By Anne Collier, Sejla Kameric, Christian Mayer, Torbjørn Rødland, Sue Williams
Portrait Meg Stuart
For the past twenty years American dancer and choreographer Meg Stuart has brought her vivid and fractured impressions of subjectivity and narrative to the theatrical stage. Restlessly prolific, she has collaborated with numerous artists, designers, musicians and performers to evolve a singular dance language of intense emotional charge. Adam Lindner talks to her about resistance, collaboration and the importance of images.
Vienna Art Scene
Figures from Vienna’s art world compose a portrait of the city. By Peter Pakesch, Stefanie Sargnagel, Martin Vesely, Andreas Spiegl, Gabriele Schor, Hubert Klocker, Andreas Huber, Heimo Zobernig, Bettina Leidl, Josip Novosel, Robert Fleck, and Barbara Holub
or the things we like: By Laura McLean-Ferris, Yvonne Quirmbach, Ché Zara Blomfield, Giovanni Majer, Alexander Scrimgeour
Film: Transportmethoden
Romain Gavras ist ein bewusst provokanter Regisseur, dessen Musikvideos und Werbefilme die beinahe mystischen Fundamente des Konsumverhaltens ins Wanken bringen. Sie beschwören ein gespaltenes Bewusstsein, für das Konsum nicht Motor der Identitätsbildung sondern seine äußerste Grenze ist – eine Synthese aus Suchverhalten und Autozentrismus, die darauf zielt, um jeden Preis ein Selbstbild zu erzeugen. Sein erster Film “Our Day Will Come” folgt einem introvertierten, latent verstörten Teenager und einem devianten Analytiker, die ihrem dissozialen Begehren an der nebeligen französischen Küste Luft machen.
In her much-admired debut collection, the Viennese designer Roshi Porkar unites futuristic and archaic elements in sculptural garments. By Diana Weis
Film: Modes of Transport
Romain Gavras is a willfully confrontational filmmaker whose work in commercials and music videos antagonize the near-mystical underpinnings of consumer behavior. They provoke a divided consciousness that posits personal identity not as a driver of consumption, but as the very limit of consumption – a synthesis of seeking behavior and autocentrism that aims to initiate personhood at any cost. His first movie, Our Day Will Come, follows an introverted, latently agitated teenager and a deviant analyst as they evacuate their antisocial desires along a foggy French coastline.
During the summer months Timo Feldhaus visited major art events in Cologne, Vienna and Basel, as well as Berghain in Berlin. Everywhere he found the same things: a need for immediate bodily experience and intensity; viewers looking to art for kicks; exhibitions that made no effort at subtlety but sought to hit everyone openly in the gut; and a refashioned performance art, adapted to suit our daily compulsion to perform.
Institution: Arab Image Foundation
The history of a region emerges in photos of the lives of its inhabitants. The Arab Image Foundation in Beirut is amassing a collection that constitutes a social history of the Arab world.