never hold a meeting over brunch (because your eggs will get cold while talking) and don’t spend too much time on books and work. He insisted that we use part of the money from his small grant to have a nice dinner and a relaxing night out.              

Dec 19, 2013

Screen Shot 2013-12-19 at 12.29.06 PM    Seth Siegelaub in his home on April 19, 2012. Photo: Arthur Ou

Nice words about Seth Siegelaub by Primary Information foundersJames Hoff and Miriam Katzeff at Artforum.

More and more, with so many people, I notice I’m inspired as much by the life as the work.

Please enjoy the time and space.

an exhibition of new work by German artist Franz Erhard Walther. It is the gallery’s second solo show with Walther, and is the artist’s first exhibition of new work presented in New York in 22 years. The new works on view are from the recent series Körperformen (Body Shapes), dating from 2006 to 2013, and relate to the Werksatz drawings as well as to Vier Körperformen (1963), also on view, a reminder of the origins of, and the artist’s long engagement with, themes of sculptural/bodily interaction.              

Dec 19, 2013


Franz Erhard Walther at Peter Freeman, New York
October 31 – December 20, 2013

Since the 1960s, he has conceived of his canvas sculptures as “instruments,” and has placed the viewer in a critical role: only when the objects are used, in ways appointed by the artist, are they completed. Unlike many other artists following his lead in creating sculptures for the viewer to handle and animate, Walther is not motivated by spectacle, humor, or the nature of performance, but rather the meditative and contemplative possibilities of the experience.

Surely amazing.  So sad to miss this.

via Contemporary Art Daily

Please enjoy the time and space.

Dans un paradoxe ironique, la notion de «Futur» a tendance à devenir instantanément obsolète dès lors que cette vision prend forme. Un autre paradoxe venant s’ajouter à cela est que le progrès technique contemporain, lié à l’informatisation totale de nos sociétés, a généré une accélération de l’histoire qui a cassé sa linéarité d’antan pour la transformer en quelque chose de sphérique et d’exponentiel, sur lequel les déplacements d’espace et de temps opèrent sans aucune hiérarchie, dans une entropie totale.              

Dec 16, 2013


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Just got the new BALACK magazine publication of Nicolas Moulin’s Subterranean (thanks Mehdi Hadj Khalifa!)  Beautiful in the way it seems like everything BALACK is.

“Dans le Brutalisme, la notion du progrès est, comme le disait Le Corbusier, de «continuer à construire comme au Moyen Âge, mais en plus grand, grâce au béton». Du moyen âge à l’âge moyen, Nicolas Moulin se penche de plus en plus sur le concept de l’obsolescence comme état permanent des choses, comme on a pu le voir dans sa vidéo.”

Please enjoy the time and space.


Dec 13, 2013


3rd 2

3rd3Really psyched about The Third Rail, a new publication that involves a bunch of amazing folks.  Produced here in in Minneapolis but available at a bunch of the best places internationally. I asked editor Jonathan Thomas some questions about the new project.

Matt Olson: It seems like first it would be good to have a little background about what The Third Rail is and how it came to be.

Jonathan Thomas: The Third Rail is a print-based quarterly publication devoted to a discussion of art, politics, philosophy, and culture, and I guess you could describe the first issue as a montage of various modes of address from across the disciplines. It was initiated in a conversation between artist Cameron Gainer and Phong Bui, publisher of The Brooklyn Rail, about a year and a half ago, shortly after the launch of The Miami Rail, and in that sense it’s part of a family of publications, united in spirit, but editorially independent of one another. Phong asked Cameron to be the publisher and to oversee and develop the project, after Cameron proposed that we launch a publication here in Minneapolis, and as someone with crossover experience as a writer and curator, I was brought on as the editor to commission work for the page and to organize the contents. We decided to title the publication The Third Rail as opposed to The Minneapolis Rail or The Twin Cities Rail, partly to mark our position within a sequence of Rail publications, partly to unhinge the identity of the project from its regional determinations. In other words, while we are, to be sure, committed to working with contributors from the region, our vision is to produce something more international in scope.

MO: How did the content come together? Was there an open call? Was there a curatorial premise? How did the finished issue become what it is?

JT:  The goal from the start was to present work by critics and theoreticians alongside projects by artists, poets, musicians, and filmmakers—to bring together voices from various pursuits and various geographical locations and to collaborate with good graphic designers, like Dante Carlos and River Jukes-Hudson. At the same time, we didn’t want to organize the publication around particular themes, like fatigue, or acceleration, or whathaveyou; instead we wanted to embrace continuities and discontinuities simultaneously, to create a space for surprise. We also needed to ask ourselves: What does it mean to produce a publication that is only available in print, as opposed to one that is distributed over the internet? As a general rule, we wanted to get away from the tyranny of screens, to recover a different sense of time and materiality. Drew Burk does a good job of articulating some of these concerns in his “Letter to a wanderer through the city of the instant,” which is the piece that opens the first issue of The Third Rail. But yes, the work is primarily commissioned; the first few issues were booked off the bat. And we’re excited, for we have some real gems on the way!

MO: Ten or fifteen years ago people were predicting the death of print. But I feel like there’s such an amazing breadth of small publishing projects happening.  For me, it’s a really important platform at the moment.  Can you talk a little about producing something in print in an age where so much culture-related content is online?

JT: Pronouncements of the death of print, cinema, painting, or whatever, are usually premature, but they do at least draw our attention to a paradigm shift, which is what we’re dealing with here. In any case, I agree: there are some exciting small publishing projects happening today. In Minneapolis, for instance, we have Univocal, an independent publishing house which specializes in the translation of philosophy. Not only are they circulating exciting work by thinkers like Vilém Flusser, Michel Serres, and François Laruelle, but the handcrafted letterpress books that Jason Wagner designs are simply beautiful. You have to hold one to understand how a bootlegged scan in fact perpetrates a degraded reading experience. The difference is qualitative, and I think in a sense the same can be said for The Third Rail, whether considered from the standpoint of production, distribution, or reception. By committing to print, we are setting up a challenge, that much is clear: it takes more time and effort, and money. It takes more care, and we’re working hard. But we believe people still want to hold publications, and that reading printed matter as opposed to reading from a screen leads to different levels of retention—and enjoyment. That said, we haven’t rejected the internet entirely. Tiff Hockin is designing our website. We are not reproducing the issues online, but you can visit our website to see who’s contributing what, and to figure out where you can pick up a copy. We’re also working with selected contributors from each issue to present audio-based projects on the website. There are certain things we can do on the website that we can’t do on the printed page, and that’s something we want to explore as the project unfolds.

MO: Can you talk about it being free?  Radical.

JT: Free is our favorite number! Wouldn’t it be nice if more things were free, like education and heath care? But seriously, while we are committed to the free circulation of knowledge and artistic experiments, it’s difficult right now, especially for a young non-profit organization. Hopefully friends of the publication who are in a position to support our endeavors with a tax-deductible gift of any amount, a little donation, will consider doing so on our website, to help keep us going. With the second issue approaching assembly, featuring contributors from Minneapolis, New York, Los Angeles, Toronto, Vancouver, Glasgow, Bucharest, Brighton, and Warsaw, and with the third issue now in the works, I can promise good things are on the horizon at The Third Rail!

Please enjoy the time and space.

Her search for a material with soul is what brought her to Carrara, Italy. A proposed two month sojourn turned into six years-a time during which she created many original marble sculptures. Her autobiography “Michelangelo and Me: Six Years in My Carrara Haven” tells the story of her love of marble and how she learned to work with the material as one of a family of sculptors at Atelier Nicoli.              

Dec 13, 2013


HANNA ESHEL / Sculpture and Paintings

at Mondo Cane NYC –  December 14th through January 18th, 2014

Please enjoy the time and space.


Dec 12, 2013


Wish i could go!

Please enjoy the time and space.


Her various catalytic conversions prove that art can be (at its best?) an impetus for action—aesthetic, cerebral, insurrectionary. I wanted the writing to surf her energy waves, wiping out as infrequently as it could. With no words on the front cover, the book looks like Sturtevant’s Haring Tag, and the reader must flip it over to get the title and any other data, turn it over again to proceed.              

Dec 6, 2013

Screen Shot 2013-12-05 at 10.40.22 PMPsyched for this Sturtevant book by Bruce Hainly!  Text on Artforum here.

And if you’re in L.A. book release at Ooga Booga!

Book launch party 
Under the Sign of [sic]: Sturtevant’s Volte-Face

by Bruce Hainley
Saturday December 7th, 3pm-6pm
Discussion begins at 4pm sharp!
at 356 S. Mission Rd, Los Angeles

Here’s from a couple months ago.

Please enjoy the time and space.



Dec 5, 2013

ArtPieceNo18-a ArtPieceNo19-a

Gabriel Acevedo Velarde
Art Basel Miami Beach
Art Positions | Booth P 06: December 5 – 8, 2013

Love this work.

Please enjoy the time and space.