Praying Mantiss

Solo show. Posters and screening of 'Vermillion Vortex' 2010 (film)

Angel of History. I can see for miles

Commissioned public artwork Focal Point Gallery, Southend 12 Sept - 22 Oct 2011 2.6 x 15M digital print for the railway bridge that spans Southend-on-Sea’s pedestrianised high street.

Barefoot in the Head

A co-edited book (Article Press, UCE, 2011), and book chapter written in response to the event: 'Barefoot in the Head', co-curated with Alun Rowlands and Mark Beasley at Bruce High Quality Foundation University, 225 West Broadway, as part of Performa 09 New York, 12 November 2009 Also including authored chapter: Russell, J. ‘A largely intolerable combination of two mainly unconnected texts: 1. Description of the Barefoot in the Head event, at BHQU, NY, 12/11/09; 2. Fictioning and the End.’ pp 68-85.

Frozen tears II

Russell, J. [Ed. & designer]. Including texts by Kathy Acker, Dominique Auch, Dennis Cooper, Trinie Dalton, Sue De Beer, Felix Ensslin, Dan Fox, Matthew Greene, Pierre Guyotat, Rachel Howe, Kevin Killian, Christopher Knowles, Gean Moreno, J.P. Munro, Paulina Olowska, Damon Packard, Allison Smith, Banks Violette, Benjamin Weissman, & Thom Wolf. 832 pages.

Frozen tears I

Russell, J. [Ed., designer & authored chapter]. Including texts by Georges Bataille, Art & Language, Fabienne Audéoud, Dave Beech, Paul Buck, David Burrows, Ccru, Jake Chapman, John Cussans, johnny golding, Inventory, Martin Mcgeown, Lucy Mckenzie, Esther Planas, Graham Ramsay, John Russell, Clara Ursitti and Andrew Williamson. 800 pages.

Dear living person

‘Dear Living Person,’ Chapter included in edited collection incl. texts by Claire Fontaine, Gareth James, Paul Chan and Sam Lewitt. The chapter is written from the perspective of a recently deceased corpse. It examines the claims art makes to moving beyond boundaries and testing limits (of medium, discipline, and category) as a cliché of transcendence. This is described in relation to the operation of the false ‘master’ limit between the living and the dead, with reference to Reza Negarestani’s vivid reenactment of Etruscan torture, and contemporary performances of institutional critique: Fraser, Krebber and Carpenter.

Dear living person

This chapter is written from the perspective of a recently deceased corpse. It examines the claims art makes to moving beyond boundaries and testing limits (of medium, discipline, and category) as a cliché of transcendence. This is described in relation to the operation of the false ‘master’ limit between the living and the dead, with reference to Reza Negarestani’s vivid reenactment of Etruscan torture, and contemporary performances of institutional critique: Fraser, Krebber and Carpenter.