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This week on Cargo

CN/075 — Jan 22 2019

 A quintessential articulation




 
Dance is a close art form — just a floor and gravity is all that’s required. And it always feels so primal, so vitally illustrative of our intrinsic physicality. Cosima Grand’s version of dance is a quintessential articulation — her spasmodic jetés, glitchy arabesques and painfully extended, full-body twerks pull into focus this carnal materiality. Not to mention her choice of visual accompaniments are so chic and full of impressive weirdness.

 



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Sarah Blais


María Pía Vivo


Kasper Pyndt Rasmussen


Daniel Royle


Andrew Darragh


Xavier Encinas






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All humans are unique configurations of the exact same thing. Though the veneers of our physiognomies may have unrepeatable nuance, and the hidden mechanics of our psychologies are singular combinations of ballasts and pulleys of differing shapes and quantity — in the end, our “souls” weigh the same. This pushes a notion perhaps weird in sound, but quite true: if you were born me and lived me you would be me and, if I were born you, and lived you I would be you — exactly, without alteration.

Image: Dan Graham, Public Space/Two Audiences, 1976



This week on Cargo

CN/074 — Jan 15 2019

 Things are not what they seem; nor are they otherwise.




 
It’s helpful to think that the issues we all face are getting more complicated over time — it soothes the pain of not being able to solve them. But perhaps there’s another way; enter artist Valentin Abad. Abad’s sculptures, often made of rough, clunky wood, intimate that our problems aren’t complicated at all — they’re just cyclical, simple and goofy.

 



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Enzo Nicolas


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Chloé Techoueyres




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Two for stunting your hierarchies:
Things are not what they seem; nor are they otherwise” (Shurangama Sutra) and “How can that which is self-existent, complete, be moved?” (Aleister Crowley, Book 4).


Image: Jean Léon Gérôme, Napoleon before the Sphinx, 1888

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This week on Cargo

CN/073 — Jan 8 2019

 Presence and non-presence in all all things





There is a word in Japanese: Ma (間) which means “gap” or “space”. Its usage though is less as a simple lexical element, and more as a concept illustrating the interplay of presence and non-presence in all all things. Consciously or unconsciously the work of French graphic designer Léa Milteau epitomizes 間 to a profound degree. Through shrewd and resolute typographic schemes which employ a good deal of absence and canny subject matter, Milteau shows 間 to be one of the fundamental conditions of serious graphic design. 🌎 🕳

 



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David Shama


Debbie Schoone


Benjamin Ewing




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Johanna Burai
No Water For Whales



Mariona Palau




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Rachel Whiteread is another master of 間. Hers is a literal, dimensional version. Her straight-forward sculptural condensations of the unseen negative space of ordinary things, leads one to muse upon the negative space not only of these quotidian objects but also of larger things… much larger — like the opposites and inversions of the patterns of nature as well as those of the cosmos.


Images: Rachel Whiteread

This week on Cargo

CN/072 — Dec 18 2018

 A blockage in the process of symbolization





If you can imagine Ken Price and Ugo La Pietra working as a mad doctors in a N.I.H. laboratory designed by Greg Lynn, this might give you an idea of Wang & Söderström’s amazing output. Theirs is a biomorphism formalized in a powerful and lovely way. 🔬❤️

 



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Julia Künzi


Eunsun Park
Pascal Alexander


Jihee Lee



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Reality itself is nothing but an embodiment of a certain blockage in the process of symbolization. For reality to exist, something must be left unspoken.


Image: Emperor Andross (from Nintendo's Star Fox)
Text: Slavoj Žižek, from Looking Awry