Author: Jamie

  • A DOSE OF BILE

    When I heard the Federal Bureau of Investigation might have figured out the identity of seventies skyjacker D.B. Cooper I was really upset. Who among us hasn’t felt a smidge of sympathy for the outlaw? Well into my thirties, having finally completed my education and finding myself without short-term goals to strive for, a swelling waistline, and an unremarkable life unspooling before me, I can’t help but feel attracted to a life fueled by passion and brightened with sparks of decisive action, like leaping out the back of a Boeing 727 into a lightning storm.

  • Dust Cloud Approaches

    From the BBC

    During the dust storms that would howl through the city in advance of the Monsoon rain, stacks of paper would dislodge and fill the great swirling pink miasmas with billowing squares, and from a behind a window the city would seem to fill with tutti-frutti ice-cream. Until airborne grit began to batter the panes, and the trees outside shook, bent, and were shredded. No word about whether there were consequences to the destruction of a billion people’s paperwork ever reached me. Any gaps were simply forgotten or spackled over with forgeries I would imagine. Paper leached out of the system all year long. Mail was stolen, plundered Western magazines sold to fishermongers; shacks plastered with folio files pilfered from the jute sacks of inter-office communications cyclists. That written word was all but useless to the hordes of subhuman illiterates sniping at our leftovers. That Delhi achieved anything at all seems miraculous now, given the condition of its phone lines and primitive bureaucratic apparatus, but back then it seemed an abomination to sensitive little me.

  • The Thirty-Third Internet Connection in New Delhi

    Tandy Acoustic

    I never had a problem with Alaskan Senator Ted Steven’s oft-mocked remark about the Internet being a series of tubes. I saw it with my own eyes (metaphorically speaking) as a teenager growing up in New Delhi. The Internet was a feed of information that trickled in drip by drip, slowly increasing as we switched our faucets and eventually tapped into the municipal supply. My father was a foreign correspondent, which meant he had to send stories back home to be published. When we left “on assignment” to India he was issued with a bag of sophisticated telecommunications equipment. We plugged it in and became early adopters.

  • Grand Hotel/Eelco and the Aggregate

    The Grand Hotel.

    Maurya Sheraton

    (photo by A.Fisher)

    Before I moved to the diplomatic enclave, I lived in one of Asia’s grand hotels, a Raffles for the Subcontinent, a once-glamorous old thing that had been gutted by a multi-national and outfitted with “hospital grade” redundant air-conditioning and “hardened against bomb-blasts.” Expansions had been undertaken; they pried its dome open and fattened its backside; but the original façade remained intact, a toothsome grill of reassuring colonnades and gentle spires. Luyten’s Delhi, reinterpreted by an Indian in the 1950s. From far off, the detail blurred, and the Hotel looked like an egg; but not an edible egg, one streaked with afterbirth slime and beginning to go bad.

    Nestled in the city’s south were other grand hotels, a cluster of them, flaming beacons on Delhi’s drab night sky; each an enclosed city, a Vatican, with its own water supply and telecommunications and police force and food supplies trucked in. Life within the hotels took place elsewhere, away from the seething sunlight and hordes of sickening poor. If the capital at night were untethered from the earth then these incandescent orbs were space stations. If the capital at night were a cavern then these few chips of light were gemstones; a long finger of semi-precious aggregate ending in blazing jewel.

    Eelco and the Aggregate.

    Eelco was a Dutch diplomat’s son who would grow to manage oil refineries all over the world. Then he was a thuggish blond child. Shorter than I. For thrift’s sake neither of us wanted to spring for a cab. So I followed him up a bridge toward South Delhi. From the ground this seemed benign, a mild ascent over the Yamuna, a line of Y shaped pylons splitting the stream of traffic in two. We walked on the island beneath the lamps. From one orange dumbbell of light to the next. The walk was comfortable at first, moist river air condensing on our cheeks, the traffic howling past a few meters away, but then the pavement petered out, until there was nothing left of the island, just bare asphalt littered with tire scraps, and we scurried from pole to pole, trucks rushing past, roiling the air in their wake. At the apex, Eelco grabbed my cuff. He pointed at the city. Clean nuggets of halogen burned above naps of dingy orange arc-sodium, incandescent veins that sliced through the dark vegetal substrate of the enclaves. He was pointing at Hotels. From where we stood the hotels were aligned, a rhinestone garter that wound through the city.

    The bridge dipped we as entered the sector, the traffic forming two long sine-waves, one red, one white. The hotels vanished beneath billboard armatures and matrices of crisscrossing tree limbs. The fecal fug of the riverbanks welled up; the city smoke became increasingly acrid the further we walked in. Gradually the pedestrian route cleaved away from the bridge. Our pathway bent from the road into empty space; and the traffic rushed elsewhere. Suspended, with no support visible, the walkway wobbled beneath our soles. The sky was suddenly filled with sparks that curled around us and soared up into the sky on thermals. My eyes teared; woodsmoke, kerosene, burning plastics filled the air; it became harder to breathe. Pits of garbage burned below us. Gullies of it glowing like flowing magma. A tamer, electronic glow hung before us. We hurried toward it. A purple-tinted flourescent dome lit a series of concrete steps descending down into a mesh cage. We swatted at a swarm of dry little flying bugs inhabiting its airspace.

    No- I said. Eelco grabbed my wrist and pulled me down. I didn’t dare object. The structure shook with each footfall. Below us, the blunt shapes of impovised dwellings became visible. Faint voices called out from the semi-dark. Peels of amplified music leaked from far away speakers. My body became acutely aware of its volume within space. My skin extra sensitive. The guardrail felt cool in my palm, reassuringly Western, the air was thick and strange. We touched ground. It was soft and sucjed at my shoe.

    The stairs led into a slum. The roofs were lower than we were tall. The roofline a plane of crooked slats. Cooking fires glowed from doorways. Cigarettes. Flickers of black and white television. Drains gurgled. Makeshift huts linked with looping wire, all open to the elements. The air was disturbed with minute sounds, massed sighing; around us, lying on mats, beside the road, beside the shacks, feet poked from bedrolls, sleepers. I worried about dogs but said nothing. Pint bottles glinted. Long sticks were tucked beside them. Some snored. Chests rose and fell. Some shifted or farted or scratched. A figure stood from his blankets, and wobbled toward us with stiff steps. He stopped before an open drain and urinated hard. We hurried past. Crescents of light flashed off circular lenses and the arc of his piss.

    We climbed from the trench. Up another set of concrete stairs. The slums were in a long gulley; fed from garbage from the hotels, which rose suddenly up from the trees as we climbed out. The Egg towered above us, floodlights illuminating its soft pink shell, which was ruined by ductwork and antennae and ramps I had never seen before: the rear-end. The service entrance. We circled around, and walked in, unremarked upon through the lobby and into the hotel proper. We took a lift. Eelco punched in a floor number. The four walls were mirrored. Even the panel. We stood beside each other, silent, as the lift ticked upwards toward the penthouse floor and our faces reflected into infinity. Eelco took me down a lushly carpeted corridor, past all the rooms. At the end of the corridor was a glass square with a small chrome hammer dangling beside it on a flimsy chain: a fire alarm.

    Eelco seized the hammer and yankedt off before I could object. He pushed the door open into a stairwell and we raced down, me a pace behind him, taking two steps at a time. No one followed, so we kept going down, more slowly, down crisp clean stairs the color of eggshell, heading down toward a soft vibration, that grew louder and louder the deeper we went down. The door to the outside was locked tight. We walked up a few floors and pushed our way into a dark space crammed with hulking cubes lined in formation; we had stumbled across a conspiracy, these were war machines. Housekeeping carts–said Eelco, lifting the skirt and removing a handful of miniature shampoo bottles. We poured out some of the white goo onto the floor and then searched the room for more. The most interesting feature was another panel, this on the size of a small door, set against an interior wall. Together, we pulled it open. Inside were thick cables, black rubber the size of a small tree trunk, one had split open, revealing a nest of translucent fiber, sparking. I held my hand against the optics and let beams of information pulse against my translucent skin.

  • Writing for Machines

    Writers are anxious about the Internet and all things electronic, as we worry these newfangled ways of entertaining ourselves might someday obviate our own work. The solution, perhaps, lies in understanding and adapting to this new medium. Consuming enough that we can master its complexities and render appealingly intelligent confections for our readers. But who are these readers? Are they different online than they are in print? Some of them aren’t even human. There is a new form of reader browsing the Internet. For this is no longer just the age of mechanical reproduction; we now have to contend with mechanical readers as well. [LINK]

  • Multi-Phase Master Plan.

    ?

    A friend lived on the outskirts of the city. A young Canadian. His property abutted a construction site. A metropolitan development authority. The site was concealed from the public. Corrugated iron fencing set up around it, blocking the view and keeping trespassers from squatting and pilfering supplies. Every hundred meters was an architectural rendering, a ziggurat of modest housing, manufacturing, and fulsome entertainment. Close-ups were inset in each drawing, all of nuclear families, Caucasoid-featured but tinted brown and smiling, clutching shopping bags and briefcases and climbing into sleek but economical cars. The illustrations were dated, drawn in a style reminiscent of science fiction paperbacks of a certain vintage. A faint disco beat broadcast via crosshatched haircut pouf. Beneath were the emblems of a dozen international organizations. The complex was silent. The multinational master plan was abandoned before dredging could be completed. We pried at a seam in the fencing. Eventually it gave. We crawled through the gap, blinking, dazzled by the sudden exposure of the low afternoon sun. Beyond was an ochre landscape, a dried mud crust fractured by dank gullies of clay. An electrical schematic writ in mud and evaporated water. Some channels were deeper than others. We entered the network at knee-level and were soon below the surface. The deeper the channel, the denser and damper the fug hanging over it. In the deepest we found pipes. Hard white veins running through the ruddy clay. We thought we found liquid glinting within, but it was hard and white and tufted, like asbestos, but closer inspection revealed the brittle white clumps were actually fiber optics. The cable was dark. I grabbed a tuft and angled it toward the drying sun and light seeped through the labyrinth.

  • The Orange and the Grey…

    During the summer I will be posting chunks of research for a series of articles I would like to write, a series of long narrative essays about the New York art world since Andy Warhol’s death. Rather than attempting to catalogue the entire history I will zero in on a few key moments, try to describe them in as much, and as realistic detail as possible and then unpack why these moments are important. The first is about relational aesthetics and Rikrit Tiravanija’s Untitled (1992) Free . Relational aesthetics bother me, and I don’t quite understand why, so my first stab at this will attempt to unravel where this discomfort comes from.

    From ArtNet - image by David Zwirner Gallery

    Here’s a skeleton of an article I’m writing…

    * When Dinner Tore Art from the Walls *

    SoHo has since molted and shed all but a few select morsels of grime, but in 1992, five years after Andy Warhol had died, the old manufacturers’ cast iron pillars looked as if they were about to topple, needle-drug-users still nodded off in the alleyways, and there were real live artists living and working in the lofts above. Galleries too. But the art on display in those was wanting for something vital. (TKTK quote) Money was one of the reasons why. Prices had soared during the 1980s. Various crazes had swollen and crested bringing with them a glut of mediocre imitators; and then the market collapsed, (tktk proof) wiping out the small timers and scaring the established. By 1992 prices had yet to recover. (tktk somethign about art prices being X fraction of what they used to betktk) But there was more than a lack of money haunting New York’s art scene. It was bleaker and darker and more dangerous than that. Andy [Warhol] was dead. Basqiat died a few months later. Keith Haring had died in 1990. AIDS was devastating New York’s gay community ; artists were murdering one another (TKTK art murders club murders race riots); violent crime levels were peaking and everything, everyone in the community was obsessed with money, gloom and death – and it seemed like all the art work reflected this.

    ((examples of said art work – Peter Halley, Kiki Smith, hard edged geometric abstraction and weird relationships with the human body – like bottles of aids blood; also something about the Brits – Damien Hirst et al were all graduating Goldsmith’s around then))

    On a Thursday afternoon gallery crawlers snaking their way through SoHo’s 89 Greene Street caught a whiff of something strange but… rich, complex and delicious. (TKTK quote) As they made their way around the tight columns on the xx floor toward the 303 Gallery they saw, not a white walled gallery but a small Asian man stirring a tureen of bubbling yellow curry and rice steaming in large pots, and the gallery itself was… nothing, just filled with garbage bins and filling cabinets and people clutching TKTKTTK and swallowing chunks of warm, nutritious curry. Strangest of all, this warm, nutritious food was free. They were ladling out to anyone who wanted any…

    ((interview with attendees))

    From here I would like to talk to people who attended the dinners – i.e. was the food any good, what was the scene around it, how special of a moment was it…

    Then I will talk about what the work means:

    (analysis of the work then – what it meant in 1992)

    -an inversion of an art gallery, back office stuff items pushed forward into the gallery space, back office converted into a makeshift galley which served Thai food

    -meaning nutrition etc. moved forward again… against the idea of body as an abstraction or the abstract relationship with the body that abstract art has

    -the food was free, anyone could sit at the same table as the artist… hierarchies destroyed, the marketplace pushed away

    -mocking Andy Warhol’s factory, mimicking Gordon Matta-Clark

    -the creation of community, the dinner as a communal thing creating a community

    After talking about what the work meant then, I’d try to ground it with a little historical context:

    (historical context))

    Yves Klein: Blue Monochrome (MoMA - New York)
    (Photo courtesy of Sergio Calleja)

    -long history of intervening in the body – Yves Klien once handed out cocktails laced with methylene blue, a chemical which dyed gallery-goers pee blue

    how Rirkrit staged the project again and again, altering things slightly, hiring surrogates, playing with racial and social dynamics

    – the 2007 recreation of the project

    ((then my sort of spin on what relational aesthetics has done))

    – the naïve painting that followed (e.g. his ex-wife Elizabeth Peyton who painted faux teenage rock stars etc)

    -how relational aesthetics was corrupted by/contributed to the institutionalization of art

    – identity politics in art

    -how it hurt abstraction

    End on a dinner scene of some sort