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Once upon a time: On Pirates, Poetry, and the Portuguese
Once upon a time: On Pirates, Poetry, and the Portuguese

Spring 2015 | ArteZine

In a preface to an earlier edition of a volume on pirates and emperors, Noam Chomsky begins by relating a story of St. Augustine, who recounts the tale of “a pirate captured by Alexander the Great, who asked him ‘how he dares molest the sea.’ ‘How dare you molest the whole world?’ the pirate replied: […]

Hong Kong Restaurant
Hong Kong Restaurant

Spring 2015 | ArteZine

Hong Kong RestaurantLantian Xie Martin Yan is always in the kitchen. Cathode rays buzz and bristle at his nervous guffaws. Arabic subtitles mark his arms. He chops, chops, chops, chops, as if to shake them loose. A phone rings. No one answers. Chicken 65 dances on a hot skillet. Grease spits. Front of house, in […]

Museum of Future Government
Museum of Future Government

Spring 2015 | ArteZine

In February, an invitation arrived in my inbox from the UAE’s annual Government Summit, entreating me to join them at Museum of Future Government Services for an exclusive ‘experience the future’ tour. It was the bureaucratic equivalent of catnip. I was intrigued to see what vision of the future this high-level summit—which cost approximately US$4089 […]

Lest the Ground Forgets
Lest the Ground Forgets

Spring 2015 | ArteZine

When the Prince of Wales made an intervention to ask the authorities in the UAE, it was about saving a cultural and historical asset that was of national significance to the Emirati on a land that belonged to them. Twenty-one years later a similar request was made by the Prince, to the Qatari wealth-owners on […]

Building a Narrative
Building a Narrative

Spring 2015 | Gallery

INTRODUCTION A lot happens in artistic practice by and through talking . Talking about images, references, writing about the intended work, and most often, telling somebody about the work to be. The relationship between construction, two and three-dimensionality, language, the fissure between the material “reality” of structures, i.e. the physical things that constitute their structures […]

I am not in the future, but I can see you from there
I am not in the future, but I can see you from there

Winter 2015 | ArteZine

How do we speak to the present from the future? Why do we feel the need to speak from the future to the present? This issue of ArteZine stems from a larger project we have been working on together over the past year. In October we presented Love Letters to Mars as a collaboration with […]

Object number 2299
Object number 2299

Winter 2015 | ArteZine

Museum of Mars Colonization Archive of Correspondence Armstrong Street 999 SI23100 Global Union Registration number: 2299 Object name: DNA-pendrive Dimensions: 2 x 2 x 1 cm Description: The DNA-pendrive contains seven encrypted letters from a woman living on Mars (V.) to a man living on Earth (J.), members of the GI movement. The letters have […]

On The Origin of Martian Tragic-pop
On The Origin of Martian Tragic-pop

Winter 2015 | ArteZine

Traj-pop, or Traj, as it came to be known in Early Martian society, is considered by many to be the foundation of post-earth culture. Our canon is formed of what’s left of its culture, and its dominance was unchallenged until its swift demise following the establishment of the first break off settlements. It is generally […]

The Closing Scene for a Film Already Made
The Closing Scene for a Film Already Made

Winter 2015 | ArteZine

EXT. OPEN LANDSCAPE – EARLY EVENING/DAY BLACK CUT TO Sound of tree crowns moving in the wind. Sound of tree crowns thickly packed against each other moving in the wind. MALE V.O. Here I am standing at the end of this film and I can’t resist but return to the beginning. To the very first […]

Notes on Disaster
Notes on Disaster

Summer 2015, 2016 | ArteZine

It is impossible to present a complete picture of disaster or to apprehend it in its entirety. It is too complex to be taken in at a single glance. More fitting to make partial appraisals, to reckon it in fragments. Disaster has no single narrative because it is not a single, personal account of misfortune; […]

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