Jenny Holzer: In Conversation — The White Review”Perhaps unsurprisingly, every seat in the Tate’s Starr Cinema was taken on 16 July 2018, where Jenny Holzer was in conversation with Tate director Frances Morris. With the rise of right-wing populism, fake news, and the West’s growing estrangement from ‘truth’ and objective fact, I sat alongside hundreds of others in silence, ready to embrace whatever insight Jenny Holzer could offer. After all, Holzer was the one who told us back in the 80s that ‘ABUSE OF POWER COMES AS NO SURPRISE’. In dire times we, as always, turn to art and artists for answers…”
Robbing the Diseased Society: David Wojnarowicz in New York — The Quietus”As a practitioner, Wojnarowicz made use of whatever he could get his hands on and never married himself to a single medium. Scratchy black and white photography; messy multimedia stencilling; found objects such as trashcan lids from the streets of New York; the dissonant musical subgenre of No Wave; the immediacy of language and the written word – everything had potential. Wojnarowicz wasn’t a jack-of-all-trades so much as he was a punk polymath. And the Whitney acknowledged the non-linear messiness of Wojnarowicz’s art and life by showing a wide breadth of his work...”
The Art of Remembrance: Memory Palace at the White Cube — The Quietus”Memory is slippery. It falters, it mistakes, it invents. And not only do we grapple with our own personal malfunctioning memory, but also the shared cultural, national, and historical memories we both inherit and inform. So, the mutability of memory could be an interesting theme for a group exhibition – especially one which includes work by notables such as Gilbert and George, Tracey Emin, and Antony Gormley. Memory Palace, however, which is currently split across the White Cube’s Bermondsey gallery and Mason’s Yard space, falls short. Somewhere along the way, the curators’ own memories betrayed them. They seem to have forgotten to include any concrete relation between the exhibition’s theme and the work shown.”
Spotify, Netflix, and now driverless shared cars: why don’t we own anything anymore?— The New Statesman”For decades, the answer to all our collective self-doubt, anxiety, and existential sadness has been to buy, buy, buy. This was particularly evident during the Nineties and Noughties, which, in terms of business, were all about mass production, mass consumption and, inevitably, mass accumulation.
Companies targeted the general public with the message that without owning their latest fad – no matter how trivial it appeared – we wouldn’t be as productive, as beautiful, and, perhaps most frightening of all, as happy. And although material objects took up physical space, they certainly didn’t fill the metaphorical void.
It didn’t take long for artists to respond to the socio-economic ennui. Movies, in particular – from The Truman Show to, more strangely and recently, Disney’s Wall-E – critiqued mass consumption and consequent possession-hoarding. Literature, too – perhaps most famously Bret Easton Ellis’ American Psycho, which was later adapted for film – studied the monstrous nature of hypercapitalism and the beasts it produces.
Despite being some of the most visually provocative commerce-related works to date (and despite anti-capitalist cinema becoming a genre in itself), they didn’t stop our needless purchase-making and endless consumption.
Aside from the self-proclaimed “minimalists”, that is…”
War Game: How the BBC’s Programming Schedule Impacted the Brexit Results — Medium”Since 1927, the BBC has claimed their news coverage is completely neutral and devoid of political leaning. Whether, in actuality, this is true or not is an on-going debate — and fiery debate has certainly occurred across both the country and its political parties. Recent instances, such as last year’s global warming interview with Nigel Lawson on Radio 4, sparked suggestions that the BBC were not following their mandate as strictly as possible, seeing as Lawson is a staunch climate change denier and the BBC did not challenge his questionable (read: appalling) claims on global warming. Meanwhile, Robert Peston, ITV’s political editor, has suggested that the BBC were not impartial during the Brexit referendum, allowing controversial Europhobes airtime “in the name of impartiality”, despite their radical views. With these examples in mind, it’s fair to ask questions regarding the rest of the BBC’s content — if they are indeed lax in sticking to their own political neutrality mandate, then what about the political nature of the documentaries, dramas or films they show on any 1 of their 9 national TV channels and on iPlayer? Or their radio content, such as radio plays on BBC4, which are broadcast to over 11 million listeners? After all, news is not the only form of output which influences public opinion…”
Digital Debauchery: The Politics of Nudity in Digital Space — Physique PictorialReadable in 2019.
Why Do We Break Our Backs to Survive in London? — The Huffington Post“A friend and I killed time in an anonymous City of London Irish pub before going to Soho Theatre. He's from the south of Manchester, I from the south of England. Two homegrown imports finding themselves in the heart of the city, and, apparently, the heart of Britain. An excitable Italian group of tourists were saying how wonderful the Irish barwoman's accent sounded: it was the first time they heard "it in the flesh". A young couple sat by the window, exchanging laughter and anecdotes about their university days and mutual friends who made dubious life decisions. An older married couple sat opposite us and looked around: there was no need to speak, they were taking everything in, and enjoying what the city had to offer. To everyone that doesn't live here, London is iconic, thrilling, and exciting. But for us both, somewhat dishevelled and quite possibly hungover, it was all pretty mundane.“
The Art of Imagining Yourself as Beloved — AmbitBuy your copy here.
A Compendium of Loss — Hello Mr.Buy your copy here.
My work has also been featured and published in magazines, newspapers, and journals such as: The London Economic, Zero Magazine, The Leopard Newspaper, and more.