McKenzie Wark is the author, among other things, of Reverse Cowgirl (Semiotext(e), 2019).
On trans | fem | enduranceBy McKenzie Wark
The year before COVID-19 arrived in New York, I felt like I was finally getting to live my life. Id come out as a transsexual woman, gone on hormones, made a few other changes, big and small. I was enjoying being out in the world.
Aria Dean with McKenzie Wark
Aria Dean is an artist who works in multiple media. Her interest in materialist and structural film has always been an intellectual base, and in her new film Abattoir, U.S.A.! she builds upon that base in ways that expand her creative practice. Dean speaks with McKenzie Wark about the connection between her earlier film and her newest piece, the importance of collaboration, and the challenges of being an artist who is also a noted writer.
LYLE ASHTON HARRIS with McKenzie Wark
McKenzie Wark speaks with artist Lyle Ashton Harris about archives, gesture, and applying pressure.
Kathy Acker: Get Rid of MeaningBy McKenzie Wark
Kathy Acker is a writer whose readership has never gone away, even after her death at age 50 in 1997. There’s some strange margin of the literary world where queers, punks, riot girls and avant-gardists have found reasons to keep turning to her.
“Not Yet”: On the novels of Kenneth FearingBy McKenzie Wark
In these times, we are constantly assaulted with news so monotonously predictable that it cannot possibly be true. The war goes on. Corruption rules. The economy teeters.
Freaky Realism: Michael Taussig's Palma AfricanaBy McKenzie Wark
Magical realism has become something of a sappy genre. The book that really put the genre on the map, Gabriel García Márquezs One Hundred Years of Solitude (1967), was not sentimental. Its magical dimension derived from the attempt to find a fictional form for a moment of real violence: the massacre of 3,000 striking United Fruit Company banana plantation workers in 1928.