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Posts Tagged ‘Paul Chan’

New Lovers: An Interview with Paul Chan

March 10, 2015 | by

NL3

Paul Chan is best known as a multimedia artist, writer, and activist, but in 2010 he added publisher to his long list of achievements when he founded Badlands Unlimited, an imprint with a mission that embraced changes in the way books are created and circulated: “We make books in an expanded field.” Chan’s modest house boasts a list rich in writing and ideas. In its brief history, it’s published, among others, Calvin Tomkins’s collected interviews with Marcel Duchamp, Yvonne Rainer’s poems, Saddam Hussein’s speeches on democracy, and a monograph of curator Hans-Ulrich Obrist’s notes and hand-drawn diagrams.

This year, Chan and his Badlands coconspirators—Ian Cheng, Micaela Durand, and Matthew So—launched the first three titles of New Lovers, a series of erotic novels written by women for a new generation’s sexual imagination. In Lilith Wes’s We Love Lucy, a young woman throuples up with her best friend and his boyfriend; Wednesday Black’s How to Train Your Virgin tells of a queen in a colorful, fantastic realm who tries to win back the lust of her king; and in God, I Don’t Even Know Your Name, Andrea McGinty tracks a young artist’s worldwide sexual adventures after she begins using a new dating app called Bangly. In short, the books are intended to be colorfully hot reads for the thinking pervert.

I met with Chan to talk about New Lovers a few weeks ago in his airy, light-filled studio in Industry City, Brooklyn. He and his team were in the final stages of completing work for “Nonprojections for New Lovers,” Chan’s solo exhibition at the Guggenheim Museum in New York, organized in honor of his winning the 2014 Hugo Boss Prize. To my surprise, Chan was utterly cool and calm considering the coming storm.

Badlands Unlimited largely publishes art books. How does erotica fit into your mission?

From the very beginning, one of the models for Badlands has been Maurice Girodias’s Olympia Press, which was one of the craziest, most vanguard presses out there. They funded themselves selling erotica. A year and a half ago, we published a political romance inspired by Michele Bachmann by the poet Trey Sager. It was called Fires of Siberia, and we had a lot of fun doing it. So we thought, Why not explicitly use the model of Olympia Press to do a series of erotic romance books? We’ll focus on women writers, publish them as paperbacks and e-books, and see what we get.

Why focus on women writers?

They write better erotica. We read some manuscripts written by men. We didn’t like them. Read More »

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Documenta 13

July 11, 2012 | by

Massimo Bartolini, Untitled (Wave), 1997–2012. Photo: Nils Klinger

Michelangelo Antonioni was not happy with the grass. This was the summer of 1966, and London was experiencing an extreme drought. The director had shot the pivotal scene in Blow-Up where David Hemmings photographs an unconsenting Vanessa Redgrave and her lover, and maybe, or maybe not, a murder at Maryon Park. But the grass looked terrible, scraggy and yellow, so Antonioni had the crew spray-paint it green, and then shot the whole sequence again.

Antonioni would’ve approved of the grass in Kassel, though. It was incredibly green, food-coloring green. The leaves, too. The city, at the northern tip of the province of Hesse, in the middle of Germany, is known for having been nearly obliterated by Allied bombs in World War II and for Documenta, the hundred-day international exhibition of 150 contemporary artists that takes place every five years. I was there with my girlfriend, Liza, for the event's thirteenth incarnation, but at some point, everyone I met would mention the destruction—whether to explain the city’s history of manufacturing weapons or the blocky postwar architecture.

The painter and professor Arnold Bode organized the first Documenta in 1955 in order to exhibit publicly the “degenerate” art that had been banned under the Third Reich. The work of prewar and wartime modernism was displayed in the ruins of the Fridericianum Museum, not just as an act of recovery but of testimony, too. This year, the director is Carolyn Christov-Bakargiev, and the exhibition spread beyond the renovated Fridericianum to the main square, the train station, the Brothers Grimm Museum, the sprawling Karslaue Park, and more. There were paintings, installations, films, performances, lectures, seminars, and, as described in the press packet, “periodic activity.” I was there for three days, which is enough time to realize how little time that is, especially since this year Documenta extends beyond Kassel to Alexandria, Cairo, and Kabul, where ruins, recovery, and testimony are not distant concepts.

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