Andreas Petrossiants
Andreas Petrossiants is a writer in New York. His work has been in The New Inquiry, Historical Materialism, Artforum.com, Bookforum.com, ROAR, and e-flux journal, where he is the associate editor.
In Conversation
BRETT WALLACE with Andreas Petrossiants
Last November, when Amazon decided to split their second headquarters between New York and Washington D.C. artists and cultural workers had to contend with the complicity of the culture industry in displacement and gentrification, and also shoulder the hardships from the exacerbation of these already disastrous crises, characteristic to all large “development” projects, which only redistribute wealth upwards.
In Conversation
PETER SCOTT
with Andreas Petrossiants
By Andreas Petrossiants
I first saw Peter Scott’s work at the Emily Harvey Foundation in SoHo (April 2016), where his exhibition Picture City II addressed his major concerns: urbanism, the built environment, and mediatized representations of a changing New York.
Naeem Mohaiemen: There is No Last Man
By Andreas Petrossiants
A man in a tidy beige linen suit, with hair neatly combed back and pants pressed, is alone in an airport; it is his 3,753rd day in the abandoned and desolate space.
Inside and Outside:
Cady Noland and the Violence of the Everyday
By Andreas Petrossiants
Noland has specialized in assembling spare, highly symbolic objects of mass consumption, such as beer cans, American flags, and other (often nationalist) products into large indexical sculptures/installations that formally share much with post-minimalist practices that have become more common in the decades since.
CARISSA RODRIGUEZ:
The Maid
By Andreas Petrossiants
Rodriguez recognizes strategies of appropriating, representing, and reproducing pictures as necessary for a contemporary, feminist, critique of teleology and historiographical time.
Introducing Tony Conrad: A Retrospective
By Andreas PetrossiantsHow to introduce an artist? One may position them in a previously established historical canon, revise history by undoing hegemonic structures of forced invisibility, or isolate an “individual” practice that doesn’t conform to historical compartmentalization.
74 million million million tons
By Andreas PetrossiantsIn one image, a group of protestors carry a body in need of urgent medical attention, or in mourning—a glimpse of the violence perpetrated by the state of Israel on civilian protestors in Gaza on May 14th that killed sixty and injured over two thousand people.
Fiona Connor: Closed for installation, Fiona Connor, SculptureCenter, #4
By Andreas PetrossiantsFiona Connor’s exhibition at SculptureCenter is composed of three pieces—two installed or taking place in the museum, and the other in the surrounding neighborhood, away from the spectator’s involvement. Connor’s bronze sculptures are exhibited in the lower-level galleries, catacomb-like rooms that have been repurposed from former industrial zones.
Resistance Across Time: Interference Archive
By Andreas PetrossiantsIn a review of the Met Breuer’s Delirious: Art at the Limits of Reason, 1950-1980, Emily Watlington convincingly argues that our “delirious times” call for responsively delirious curation.1 As buzzing news alerts stoke excess trauma through an ascendant reactionary (neo-) conservatism, such a call is not off-mark.
JOSÉ LEONILSON:
Empty Man
By Andreas Petrossiants
In addition to Leonilson’s long-overdue re-recognition, the exhibition is especially appropriate given the many comparisons to be drawn between the present and the darker moments of the 1980s.
In Conversation
LEIGH CLAIRE LA BERGE with Andreas Petrossiants
While work may never become obsolete, being paid for it might—slyly invalidating the darker sides of some recent postwork theory soaked in accelerationist dogma, rather than in ideals of just redistribution or the outright toppling of capitalist exchange.
Annea Lockwood, Aki Onda, and Akio Suzuki: Presented by Blank Forms
By Andreas PetrossiantsIn March 2016, the newly-founded curatorial platform Blank Forms hosted their first event, a seminar on composer Maryanne Amacher’s investigations of the “psychoacoustic dimensions of human perception.”
In Conversation
Anti-Banality Union with Andreas Petrossiants
This anonymous group of filmmakers has just released their film Earth II, which premiered at Spectacle in January. Earth II takes an innovative approach to the "end of the world" genre, and is a significant exercise in appropriation.
Eyal Weizman's Forensic Architecture: Violence at the Threshold of Detectability
By Andreas PetrossiantsAfter years of drone warfare, neoliberal “creative destruction,” and the proliferation of propaganda via the management of media channels, it is clear that the spheres of political economy and technological warfare are ever more disturbingly bound with the production, dissemination, and obfuscation of information.
Propaganda and Mutual Aid in the time of COVID-19
By Andreas PetrossiantsA double sentiment is overwhelming: intense connectivity on one hand and dislocation on the other.
