Real Milk publication
My collaboration with Veronica Graham, who runs the art and design studio Most Ancient, is released today.
Real Milk is an experimental comic inspired by real-life “smart” dairy farms where cows milk themselves and produce better milk because they set their own schedules. The book is screenprinted on Dura-Lar and acrylic and digital offset printed on vellum, making it translucent from front to back.
Real Milk debuts tonight at SF Art Book Fair. It will also be present at Printed Matter’s LA Art Book Fair 2023, and is available at the Most Ancient shop.
The final piece of the Puzzle commission is this interview on M+ Magazine with the co-curators, Kerry Doran and Kate Gu.
Doran: Language, (mis)translation, and (mis)understanding are central to Puzzle. How did conversations from your life inform the dialogue in the work?
Kuo: Many of the dialogues are (mis)quoted directly from memory, but others only ever happened in my mind. All were written from a bilingual mindset, with valuable help from Zhong Yuling, the editor at M+. For me, each dialogue is already broken, as I lost fluency in my mother tongue very early on. Like many immigrants, my family and I communicate across more than one language. This is why the displayed text is a combination of Chinese and English, no matter which language is selected.
In either case, the language is not complex. More meaningful than what the words signify is how their intentions move against or past each other, and get caught up in ever-tightening knots or completely bypass mutual understanding. The feelings in that sense are more complex and vividly recalled, and they necessarily exceed syntax. This work wants to communicate the feelings that remain after language is gone.
Read the interview.
Artist Profile: American Artist
I interviewed American Artist for Rhizome, continuing a conversation that began in 2018 at our talk Black Stroke, White Fill at Bitforms Gallery (a closing event for my show, The Pointer).
RK: What's unsaid but apparent in Sandy Speaks is that Sandra is speaking from someplace beyond the logical frameworks of AI and user interfaces, where cause and effect hold no water. In what ways are the incongruities between a work's format and premise, its reality and ours, instrumental to you?
AA: I’m trying to do a bit of alchemy, or make more than what appears, become present. The art object is something to hold onto, but there’s an additional thing that goes on inside you when you encounter the work. Sometimes to create that feeling, or to arouse that concept, the thing in front of your face has to be mostly unfamiliar.
It’s interesting that you bring up causal relationships, because they are so central to computer programming. I often teach Wendy Chun’s essay On Software, Or the Persistence of Visual Knowledge which draws a connection between programming and ideology. Part of what she describes is the way computer users believe that when they click their cursor on a folder, the folder will open. There is a causal expectation that each time you do an action there will be a specific outcome. The pleasure attached to that expectation is what makes people invested in using digital devices. But there’s actually no reason for us to have such an expectation with our actions on a computer. She equates it to pure faith.
I think there is a similar thing that goes on in society and politics. Many people believe if you follow the law, if you pray to God, if you do things in a particular way you will live a good life. But I think what comes out of Afropessimism is this particular contradiction, it reveals that that is not the case, you can do all those things and still be killed just because you’re Black. And for that reason I think many Black people don’t subscribe to that logical reasoning that you described.
Read the profile.
Maryam Monalisa Gharavi writes an epistolary response to Puzzle for M+ Magazine.
But if before I had marveled at the effect of advances in mobile phone technology on long-distance family communiqués, I now felt awed by the sense of openness and safety of that correspondence. The child’s congruency between what he felt and how he expressed it was an advancement all its own. The securely attached child, to use a phrase from the psychodynamic relational model, retains assurance that you will be there. A superior emotional infrastructure has quietly emerged. No one should take it for granted.
Does puzzle then mean to obfuscate deliberately, for the sake of the ruse? Or does puzzle imply that obfuscation is inherent and constitutional, as inviolable as genetics?
Interlude Doc 091
A short piece about File, my proto-NFT for (the now-defunct) left gallery, is published at Interlude Docs.
I had a poor grasp of the stakes and mostly disregarded the blockchain and how the provenance of my work could be inscribed upon it. I balked at consigning a digital file that really wanted to be modified, moved, copied, or deleted; to trace the steps of its creator.
But this presented a motivation for the work. I decided that I could start by writing about what was happening, and what that could mean to me. I would write as long as there was a problem to discuss, and the underlying problem was that I could not relinquish the file to unfamiliar hands. This understanding would remain between me and the work and comprised a digital stack of hyperlinked pages, each documenting one facet of the problem and together forming an unsolved picture.
Thanks to Rebekah Weikel for the invitation!