A Comprehensive Dissolution of the Self

When the comprehensive movement of a collective work shall begin at the level of the sediment, progressing beyond the old site of struggle that was the Factory towards the Fossil, the personality – that projection generated through the semiurgical regime of commodity society –  subsides in the substratum of the matter. The build-up of impactsContinue reading “A Comprehensive Dissolution of the Self”

Painting with No Edges

The edge as a demarcation between what goes on in the work and what goes on elsewhere is no longer necessary. With the mineralized painting there are no edges. The limitation of size stops the expanding of the field but this limit is arbitrary. The impact area could extend indefinitely. Size and scale are notContinue reading “Painting with No Edges”


Geopainting appears as a field of force. It appears as an emergent structure of instant impacts. It seems to be an image but not a picture – it appears not as a picture of anything, only an image of itself. The image appears as landscape landing itself, where land becomes a verb, a doing, activityContinue reading “Geopainting”

The Nuclear Anthropocene

“Ele Carpenter introduces her curatorial research into nuclear culture, drawing on artistic practices in Europe and Japan, and field trips to underground research laboratories for high-level radioactive waste storage at Horonobe, Japan, and Bure in northern France. While the slow violence of radiation may render it imperceptible, the foregrounding of radiation through accidents and publicContinue reading “The Nuclear Anthropocene”