Folding The Black Flag

Despite a positioning “against art” and its established institutions, their collaborations and implicit positionings, there is work to be shown. I was so lucky and am so grateful to have been offered this show here, and want to offer such heartfelt thanks to everyone involved, especially James, Alicia, Liz, and Sergio. I am actually (ironic though it may be through some lenses) so proud of the work I have done here in Miami. Many of these projects are things I have been developing for years, and I will be writing more about the particulars of the pieces in the next weeks, but for now here is a small preview of some images from the show. Please contact me if you are interested in any of the work. Click for higher resolution.


To Fold is to diminish, to package and reshape, to layer and reform, but also to abandon, give up, and jump ship.

We have been undertaking a series of such historical Folds and Bends, layering and doubling past and future events into a habitable world, the generate’ questions reaching out from the so-called anthropocene towards a utopic nonphilosophy of objects, spaces, times and texts. To fold the idolatrous stand-in for a cultural center, the patriotic identity brand, the semiotic harbor of the impossible community, the anarchist moment, the dark nation, of blackness, of void.

The exposition we are presenting represents a collection of integral “carbon offsets” that work to disrupt an oppressive historical flow and revise data and fact. Each physical piece, as each performance acts as a weapon slicing and reforming the collective topography of domination and oppression that have been laid upon our realities. We employ a critical, almost mystical mathematics to gut, invert and displace fixed truth and fictions, and conformationally mutate the genetic shape of stories: Can the dadaists, for instance, be written onto the black panther party?

Illustrating a “pessimism of the intellect, optimism of the will” the polycephalous group is launching a series of physical interventions in the vacuous and venom-filled Miami art fairs: if not to inject a bacchanalian passion, if not to protest, if not demand accountability, or cry shame on the hoards of elite high-bourgeois “collectors” hoarding their opulence into untaxable calcifications of meaninglessness and privatized “culture,” then at least to deride their own pathetic proximity to its stench, and tease and horrify the elite mass with a glimpse of free delight, to invite action, when suicide is not enough. Opera Becoming Fugue, Terrorist Becoming CEO, Death March Becoming Obscene Parade.

Our interventions and anti-celebrations effective throughout the fairs act as capstones, creases, and tears onto the folds we are suggesting in the temporal drift. Each physical item is also a crease, a move towards monistic plurality, a strata of polarized integration, melting opposite magnets together. Manifold forays into political aesthetics with varying degrees of ‘authenticity’ and realism highlight the acknowledgement of a politics beyond hope: what becomes of the radical when society has catapulted so far past the point of no return as to render any ‘actual’ political activity naive, moot and stillborn. A broken irony twisting itself pathetically inside out again and again.

The totems, inverted paintings, text combines and anti-objects that form the backbone of the exposition are relics drawn from the momentous climaxes of individual and social crises. As each body is the amalgamated reflection of its society and the contradictions inherent to it, our problems become its problems: Selling/-/Out a political aesthetic as a deadly recouperated compromise, where all communication rests on translated isolation, the reiteration of shifting slogans, stitched and ripped into translucent combination, to be together is to sacrifice identity, incorporate into the cancer of a viral root: the body at war with itself against art, against meaning, against specificity, against understanding.

Above is documentation of our nuptial Black Friday Performance in front of Aventura Mall.

Art Basel Arrest Press Release

Since our stint at Art Basel Miami, the presses have been roaring our superfluities, so we thought it would be appropriate to get a word in edgewise. Please let this stand as our official Press Release and POV on the events of yesterday, and forward widely if possible. Two more videos of the events are here: x & x & x


Our loose collective has for the past year been collaborating around a series of Not-Happenings and Rhizomatic Encounters on the New York City subway system, dogmatically aimed, available, and permeable to anyone who happens into their proximity, resistant to the enclosure of elite venues and closed spaces. As such, we were thrilled to unfold an opportunity to insert ourselves into such a starkly contrasting context from that with which we typically associate.

Yesterday two of us were arrested after effecting Not-Happening #13, an intervention in the “Collectors Lounge” Dragon’s Den of Art Basel’s closing day.

We had been touring through a series of interventions in Miami’s various fairs, each tailored to its specific tastes, all of which up until Sunday had gone off relatively seamlessly. When we approached Art Basel’s gates in our everyday attire, we were told by three tiers of increasingly serpentine security officials that we were dressed “Too Artistically” and that the ingress of “Art” to Art Basel was prohibited – a curiously banal note as our work is so perpetually denounced on the street as “Not Art.” We spent the next hour wandering around the outside of the fair asking visitors for their clothes.

After finally gathering a complete costume of Normal street clothes, we entered the fair and effected our short intervention in the Lounge, one of us articulating a very basic anti-Art-World rant while the the other simultaneously read aloud the text of the BMW guide to art collecting at Basel. The police report later detailed that our “protest” involved “30-40 demonstrators wearing mask[s]” – the two of us had apparently proliferated into exponential suggestion.

It is tragic to see one of the last tools of liberation and elevation appropriated by the very people who are standing on the throats of those they are keeping it from. Wealth is based on poverty, privilege on oppression, and we decry the colonial irony, privatization and commercialization of potentially transcendental forms and ideas by bourgeois elites.

As we exited the building, having been forbidden to pick up our checked bags by Basel security, police violently pounced on us from behind, supposedly having mistaken a prosthetic packing penis for a handgun. having wrestled us to the ground, bruised and battered us with their bodies and a barrage of sexually invasive questions, they then placed us in tiny adjacent cells in a prisoner transport van for the next five hours that became like a sauna. We sang. By six in the morning, after eight more hours of extremely productive learning within the state’s racist incarceratory complex (where it would behoove all white-skinned bodies to spend some time), our families and friends had come together to bail us out of the Dade County Jail.

I was arrested twice during Basel week for “art crimes”, fittingly (although initially unawares) concurrent to remembrance marches for Israel Hernandez, the young latino graffiti artist who was tasered to death by police 16 months ago. The glaring facts of these events obviate the entrenchment of racist policy and privileging of white bodies by the police force – that is to say, we have become aware that had we been in darker bodies, we would probably be dead.

Over the next week we will be holding a series of Free School classes and events concurrent to the art show at Space Mountain Gallery, 8363 NE 2nd Ave in Little Haiti, and are happy to invite submissions for learning and teaching. Please contact us at

The GroupSelf Collective

^ examples of our work under NYC

EXPO: “Folding The Black Flag”

I am happy to formally announce my art show with James Concannon at SPace Mountain Gallery in Miami:

AOS Internationale presents “Folding The Black Flag,” an entre into Revolutionary Nihilist Pataphysics

||| The exposition features an historical ‘Folding’ of Dadaist, Anarchist, and Post-Deconstructionist Non-Philosophies. Bodies in varying states of medical dissonance and decay (More Dead White Men) stand as analog reflections of capitalist collapse paradigms, a series of Death Marches through the organs of the beast, the construction and installation of hypertextualized totems throughout the urban landscape, a serialized Noise Opera. The paintings, intervened items, text assemblages and combines of the polycephalous AOS body simultaneously desacralize and reify the crumbling detritus of self-cannibalizing refuse-culture into a phoenix of asocial third gender euphoria. Anti-Object, Anti-Art, Anti-AOS. |||

The show will include site-specific installations, free school learn-ins and open cabarets with a series of performance interventions throughout Miami proper and its art markets.

Gallery opens 11 am and closing late daily. Pre-View Reception and Paint Black performance on December 2nd from 8:30 pm to midnight. Basel Reception and Noise Opera on December 5th from 7 pm to 11 pm.
Space Mountain Miami, 8363 NE 2nd Avenue, Miami, Florida 33138 @spacemountainmiami
For information regarding Aos Internationale at any time:
Call (862) AOS-INTL

We will be touring down the coast en route over the next week, with performances planned in Philadelphia, Baltimore, Richmond, and Savannah. I had planned to raise money to buy a bus for the trip, but was hit by a car an broke my leg (which has been pretty depressing), so I aborted that project, but after five weeks largely inhibited from performing by crutches it would be a boon to sell some drawings or objects before the show. Please message or email with interest, and I can supply reference images – (also there are things on @enormousface IG).  Also anyone who is interested in being in the free schools, cabarets and death marches/installations, please don’t hesitate to contact! Thanks so much everybody for your support!

PDF of press release here: Aos Internationale

.~*Performance C@rt*~.

WHEREAS, In the 1990s William Pope L (“The Friendliest Black Artist In America”) crawled the length of Broadway in a superman outfit, LET IT BE THEREFORE RESOLVED that: Active also as an homage, this Cart traced his route from Bedstuy to the Bronx one day, wiping up Manhattan Island.

**”PRESS RELEASE”** Some Theme’s May Include:
@bject-Oriented Ontology, The Idiot Hero, Sisyphus, Otherness Totem, Semiotic Anomaly, In-Between-ness, Performance-Cart, Garbage, Industrial Capital, The Absurdity of the Individual, Fragility/Nudity/Pornography, Identity Flux, Emergent Compulsive, The Shambling Community Body, Homeless Push, Nomadic Architecture Eyesore, Post-Freudian Sexuality,The Gigantic Snail, The inverted Metaphoric Ensemble, The Nothing Box, Constructivity, against advertising,…. etc, etc, etc.

To divide actions by genera, to classify and unwind. We put it all together and took it for a ride. Again and again and again. The fourth installment of a locomotorized ensemble, a microscopic maxim, a nomadic thrust. All of this is starting to weave together.

Here is a small, still growing internal page, and below are some other excerpts of documentation stills. Complete data ought be forthcoming in time via the incredible and talented Sergio Coyote.

Deep|Raw|Thick [Lingu-Jingo-istic Hawt Sauce, Fake Utopias...]

~~~I had wanted to describe a little litany or catalog of the work I have been working in of late – a quatrecht of graffitoid mystiques, a little arsenal of spiritual rifles and bludgeons, a widening kaleidoscope of world and world-shapes, the anti-anti -invocatives, arachnoid inverse/converse, the stretched egg-sacks or polyps of inside-out animals stuffed into condoms, clockwork, refuse-landscapes, a board game with no rules, boxes boxes boxes, machines of lust wax and thread, the wild uncanny, assemblages of the cart, spiderwebs, grand openings & closings.

Some a little more, some a little less. So, if you’re interested in an orphanage, or a museum, if you have any little questions… and of course I’ve got a heavy hankering for that critical feedback and shifty discourse. ‘Might, too, be packin’ shop soon, so with a place, or space, a little nomadic monism… aren’t we supposed to say something about fragments? Anyways, I don’t want to wax all weathery about this, but it’s been wonderful to have a studio again, spatializing topographies of cathexis and et ceteras. Any poem would want a page. I am not planning on getting any more articulate… {$0 @$k m3 $0m3 Qu3st10n$} ~~~

gROUPSELF Not-Happening #4 (film! finally!)

The emergent (/compulsive/loose-roots/fascimile-) ‘Kollektive has been working on bigger collaborative Not-Happenings in the subway for some time now, but have been until very recently hurting for any kind of reasonable footage or documentation. Infinite thanks to the wonderfully talented Sergio Coyote for all the work on this.

I really do just want to let it undertake that tautology to “SPEAK FOR ITSELF,” but I’d love all that nourishing critical feedback, narration, spiritual glutting and analysis. Also, questions.
For a patchier, more sisyphean, and silent take: XXX

Enormous Facebook

Of all the petty squabbling…. I finally broke down recently and created a page on the Good Book you can [troubling messianic discipleship] “follow” to stay Up To Date. “Feeding” / Discourse of The Feed. So.

The Beast Is Here, Automatically, Invisibly, Imperceptibly, In Kinds of Totality:

The horrible evil irony in this so obvious mis-step harkens back to the beginnings – a time when a blossoming young Luddite parsed through thoughts to strike on a Domain Name [the nation state? the kingdom? pathologizing the self?] to know the absurd egotism of building a digital temple to one’s own artistic practice, and the simultaneous impossibility of monist singularities in opposition to the monolithic ‘Book. So now I have a web page about a web page, darker than dark.

(This all as I am increasingly doing masking against identity) Now you can learn all there is to know. Go forth! [a disclaimer: a few things on the main site are broken. i will try to fix them soon]

::Neu Drawings::

I wanted to shout from the mountains “I have made new drawings! Yes! And they are here! Here! Here!”

I wanted to Goose the dregs of another Un-Coming, another ribald ribbon, a great unfathomable monster…

I did not know what they were for: to what be put: towards whose fattened eyebrows they would turn.

This is something of a Little Host, again. I want to know about them: Are the “New”? Are they “In Disguise”? “Tropical”? “Other”? “Prolapsed”? Feed Me Back! Several of these are Commissions, and the others are likely obtainable. If you’re interested in them or their like, drop a line. Increasingly people have been wanting me to work on Better Paper, or to use High Art Materials, and it’s a problem in several ways. I think I have a little semi-aesthetic class analysis against Nice Things, or against New Things, but moreover, ironic as this is from someone who vocally aims to disrupt contextual flows, I prefer to work on surfaces already dosed with some kind of blemish or mark also because it broods a kind of connection and situates even the suggestion of a macroscopic collaboration. It is against white-box curatorial minimalistic cleanness.

To have spoken at the rejoinder of the cloven hoof of representation, the facade or break, the discontinuity between what is Drawing and Illustration… Another If. Another steaming ponderous billiard ball. Another full frontal. Another canpoy of Jacobins. An empty magazine. The brutality of this thoroughness knows no edges, neither cortical nor penumbric shades. Froth from the caratact. Don’t lie to me. Break me open.

(Finally) Post-Post-Modern Taxonomies

Certainly it’s been a hot second through a cold season. And plenty of excuses.

I want to be the one to say, recursively, itteratively, plusamperfectly, and all-at-once, that the Post-Post-Modern has arrived, for those who want to eat it. For those not too cynical to live in an ever-shrinking closet (“Out of the Closet, Into the House”), ready to live in a kind of approximate philosophy of jouissance – and it is Speculative Realism. Above are a few of the taxonomies I’ve been drafting as some kind of continuation of Jane Bennet’s SR/OOO lecture on Hoarding and Thingness, whose thought, in my recent trip to Montreal’s T.A.Z., I did a little striptease pirouetting around.

Meillasioux’s Future God keeps begetting these worlds, both as an extension of the first Building A World project in Argentina, and an illustration of Nietzschean proto-mormonism. That is to say, reading about the Nobel prize, I began to feel that every feasible human achievement seemed increasingly petty, and that the only significant goal would be to become, in a very tangible sense, god. So there’s that. Then, the sketch of my New Hell graphic experiment bleeds evermore into an expanding superficie of decomposing Demonic Cities made of packing peanuts. Takers? Inhabitants? Sub-letters? I am, of course, still stirring a stew of Commissions, so let me know if you’re interested in something!

Inside the self, I’ve been reading a lot. On a Black Power binge. Assata. bel hooks. Nick Land’s thrilling Fanged Noumena. Infinite Jest::After Finitude (yea, holla). Wild necropoetic constants. I’m also increasingly excited about the direct sharing of digital media – I’m making a library list, so ask me about it and I’ll load you full of films, audio and texts when we face it.

East Coast Historiography & Familiality Tour!

My folks came out east in July for some intense historiographical leaping and time opening. We drove through Ethan Allen’s jungly climes through to the Bread and Puppet Circus & Pageant, and down to Concord and Lexington to the site of American Revolutionary Genesis, to Boston and its awful pseudo urban groves. We wheedled to New York City, its islands, its proud slopes, its cultural miasma, and finally down to the Columbian District and its huge masses, monuments and petty touristic misama.

The five attached fauxttographs depict our Proto-Lovecraftian & Otherwise Cthonic Becomings and Occult Summoning Activities at the Statuette d’Liberte, the National Capitol Duomo, the Concord’s North Bridge (site of the “Shot Heard Round The World” and beginning-place of the War of Colonial Rebellion), the Nat’L Neo-Phallic Centre/Gesture [this image has since been reviewed and removed from the posting out of consideration for female mammals and menores de edad who may be deeply and ostentatiously reading here, please contact me personally for a copy of the image], and the One-Penny Memorial & Very Thoughtful Pool. Please Enjoy Our Dark Truths.