LAIBA RAJA
March 2020, 1 PM. A soft yellow light glows from the corners of the restaurant. I order a seasonal salad (£9.50) with vegetables, morels, pea shoots, radishes, and lemon dressing, followed by a Yorkshire Chicken (£20.00) with roast corn-fed breast and wings, sweetcorn, baby gem, apricots, almonds, and curry. I wait for the food to arrive and peruse the pamphlet on the table.
(reading) “Having just missed the once-a-fortnight paddle steamer, they are forced to camp for some ten days in a dirty hut by the jetty.” (noting) Quite a bold choice in transport. (reading) “The Colonel tins lobsters assiduously against the advice of the Princess, who prefers them fresh.” (noting, reflecting, processing) A Colonel and a Princess—so, armed nobility? Not satisfied with plain tinned food? (reading) “At last, the boat arrives, and they stow themselves, cart, horses, dogs, and stores on board.” (noting, reflecting, processing, suspecting) Where are they preparing to go?
I turn the pamphlet just to see the title. The Expedition in Pursuit of Rare Meats.
(reading) “They land in a strange country.” (noting, reflecting, processing, increasingly suspecting). (reading) “Close by an immense fortified wall, which they rightly guess to be the Great Wall of Cathay.” (processing) (dots connecting) (thinking) (not commenting). (reading) “They are alarmed and hurry through the first town they reach, their steps re-echoing in the ominously silent and deserted streets.”
I close the pamphlet.
(reading) “Having just missed the once-a-fortnight paddle steamer, they are forced to camp for some ten days in a dirty hut by the jetty.” (noting) Quite a bold choice in transport. (reading) “The Colonel tins lobsters assiduously against the advice of the Princess, who prefers them fresh.” (noting, reflecting, processing) A Colonel and a Princess—so, armed nobility? Not satisfied with plain tinned food? (reading) “At last, the boat arrives, and they stow themselves, cart, horses, dogs, and stores on board.” (noting, reflecting, processing, suspecting) Where are they preparing to go?
I turn the pamphlet just to see the title. The Expedition in Pursuit of Rare Meats.
(reading) “They land in a strange country.” (noting, reflecting, processing, increasingly suspecting). (reading) “Close by an immense fortified wall, which they rightly guess to be the Great Wall of Cathay.” (processing) (dots connecting) (thinking) (not commenting). (reading) “They are alarmed and hurry through the first town they reach, their steps re-echoing in the ominously silent and deserted streets.”
I close the pamphlet.
JAN XU
Drawing destroyed me
Drawing destroyed me
I wake up every morning
Thinking of thousands of untitled drafts
That lay in my Procreate
I got to bed many night
Feeling guilty & shamed
For another day I didn’t draw at all
Drawing destroyed me
I draw what I want
I draw queer love
I draw romantic fantasy
I draw sexy stuff
I draw dumb jokes
Drawing destroyed me
I am a amateur
I am a cyber refugee
I am a girl full of passion
I draw out of love
I draw out of rage
Drawing destroyed me
I hate drawing
Drawing gave me tendinitis
Drawing gave me anxiety
Drawing gave me insomnia
Drawing gave me friends
Drawing is my weapon
I love drawing
Drawing destroyed me
Drawing destroyed me
I wake up every morning
Thinking of thousands of untitled drafts
That lay in my Procreate
I got to bed many night
Feeling guilty & shamed
For another day I didn’t draw at all
Drawing destroyed me
I draw what I want
I draw queer love
I draw romantic fantasy
I draw sexy stuff
I draw dumb jokes
Drawing destroyed me
I am a amateur
I am a cyber refugee
I am a girl full of passion
I draw out of love
I draw out of rage
Drawing destroyed me
I hate drawing
Drawing gave me tendinitis
Drawing gave me anxiety
Drawing gave me insomnia
Drawing gave me friends
Drawing is my weapon
I love drawing
Drawing destroyed me
LUKMAN IPESE
what would they think?
Marvel at your glow-up and grace?
Or cringe at your Spotify taste?
Did those aspirations change?
Or slowly slip away?
Would they be proud of what they see?
Or just impressed you still can’t eat peas?
As the older, once-wise Tracy Beaker famously said:
“If I could sit down with my younger self, I’d probably shake her by the shoulders and yell, ‘Stop being such a total drama queen!”
Maybe she had a point.
Be a bit more dramatic.
Once upon a time, the younger, more London me said:
“To have a buff girlfriend, go clubbing with my bedrinz, and run a successful business as a manager.”
Poetry in its purest form.
And honestly?
I’ll get that girlfriend. I’ll hit up that club, and I’ll own that business.
Or ‘just be a big fat liar’.
MIKKI JANOWER
Esteemed readers and stakeholders,
Q2 is upon us, and with it, incentive to innovate. Art-making presents a steep growth opportunity. Keen-eyed investors will have observed the commercial success of Generative AI technology, the global shift towards “gig” work in the arts, and the defunding of art infrastructures, and understood that the market thirsts for change. The enterprising among them may even observe some routes by which he might deliver such disruptions. First, he can cut overhead costs by automating, digitizing, or wholly deprecating art-making processes where possible (those that stubbornly require skilled work can be cheaply approximated through compounded micro-labor). He’ll observe that, across consumer landscapes, buyers accept declining quality and increasing climate externalities, inviting all manner of cost-cutting ventures. He ought also consider a time-tested strategy from the financier’s playbook: funneling funds from arts education and nonprofit sectors towards consultants and administrative personnel, who will duly expand and perpetuate this process.
Yet there is another intrinsic value to art, one divorced from fiduciary incentive. How do we preserve this other value, this beating heart of culture, amid such changes? The x-factor I speak of is, of course, free-market exchange. I’m thrilled to share that this will continue apace. I also advise the reader not to compromise on creativity. Visionaries, from growth equity gurus to executive directors, deserve time, trust, and resources to streamline efficiencies in groundbreaking ways.
Reader, you and I have the power to protect and nurture the age-old urge to think and build together: neoliberal capitalism. This fiscal quarter, I hope you’ll find it in your heart to give (ideally directly to me). Thank you.
Q2 is upon us, and with it, incentive to innovate. Art-making presents a steep growth opportunity. Keen-eyed investors will have observed the commercial success of Generative AI technology, the global shift towards “gig” work in the arts, and the defunding of art infrastructures, and understood that the market thirsts for change. The enterprising among them may even observe some routes by which he might deliver such disruptions. First, he can cut overhead costs by automating, digitizing, or wholly deprecating art-making processes where possible (those that stubbornly require skilled work can be cheaply approximated through compounded micro-labor). He’ll observe that, across consumer landscapes, buyers accept declining quality and increasing climate externalities, inviting all manner of cost-cutting ventures. He ought also consider a time-tested strategy from the financier’s playbook: funneling funds from arts education and nonprofit sectors towards consultants and administrative personnel, who will duly expand and perpetuate this process.
Yet there is another intrinsic value to art, one divorced from fiduciary incentive. How do we preserve this other value, this beating heart of culture, amid such changes? The x-factor I speak of is, of course, free-market exchange. I’m thrilled to share that this will continue apace. I also advise the reader not to compromise on creativity. Visionaries, from growth equity gurus to executive directors, deserve time, trust, and resources to streamline efficiencies in groundbreaking ways.
Reader, you and I have the power to protect and nurture the age-old urge to think and build together: neoliberal capitalism. This fiscal quarter, I hope you’ll find it in your heart to give (ideally directly to me). Thank you.
SELIN HUILIN RUAN
再见
GOODBYE
That’s all from Tate
That’s all from us
We are now closing down
That’s all from the year
We need a goodbye
And goodbye
This is all from me
GOODBYE
That’s all from Tate
That’s all from us
We are now closing down
That’s all from the year
We need a goodbye
And goodbye
This is all from me