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Robert Assaye
Robert Assaye is a writer and critic living in London.

Articles Available Online


Issy Wood, When You I Feel

Art Review

December 2017

Robert Assaye

Art Review

December 2017

At the centre of Issy Wood’s solo exhibition at Carlos/Ishikawa is a room-within-a room. The division of the gallery into two viewing spaces –...

Art

April 2017

'Learning from Athens'

Robert Assaye

Art

April 2017

The history of Documenta, a quinquennial contemporary art exhibition founded in the German city of Kassel in 1955, is...

Isaac Goodchrist, Esq reviewed the 48-hour letter   therefore, in the strictly professional opinion of this author, the nation’s military bodies are adequately licensed, according to the language of law and the precedent of 2001’s AUMF (Authorisation for Use of Military Force), to employ all appropriate means — including deadly persuasion — against those foreign entities (or, if necessary, non-entities) as enumerated supra, including by proxy all persons, organisations, or nations abetting those entities/non-entities, age being no object, gender being no object, race being no object, citizenship being no object, faculty of mind being no object   In sum, should lethal force be applied, the powers that be should sleep swimmingly, in terms of, at least, the language of law and the facts of precedent, soporifically perfumed by the atomised skull matter of those foreign foes (of any potential age, colour, shape, or content)   Goodchrist signed the letter   His signature had the aspect of a string of bulbous grapes on the vine The page was fat stock, flecked with colour, with a smell a little bleachy and audible flap Against the dark grained wood of Goodchrist’s kitchen table, its handsome ivory popped Goodchrist recapped his pen, which he’d stolen from a Blockbusters, circa 1992, and he watched the ink sink, stain, barely bleed, and set; then, with plain horror, he looked forward and came to slow terms with the breakfast before him He thought, So food has come to this   Breakfast, Goodchrist was discovering, was stale cereal, served to him — by him — in the bile-green, becrusted dog bowl He found he had already conceded a lump to his mouth He chewed, wondered How he had arrived at supping from this lowly vessel was mystery, as were most of his other domestic movements for the past two feverish days, during which time he’d composed the letter As was lately usual, the composition period had been spent in fugue The stress of his job was wrenching the fingertips of his senses off their ledge with increasing spur In the pit below, mind was cloaca, but for the legalese flushing through   Goodchrist was a war lawyer It was his

Contributor

August 2014

Robert Assaye

Contributor

August 2014

Robert Assaye is a writer and critic living in London.

New Communities

Art

January 2017

Robert Assaye

Art

January 2017

DeviantArt is the world’s ‘largest online community of artists and art-lovers’ and its thirteenth largest social network. Its forty million members contribute to a...
The Land Art of Julie Brook

Art

Issue No. 4

Robert Assaye

Art

Issue No. 4

Julie Brook works with the land. Over the past twenty years she has lived and worked in a succession of inhospitable locations, creating sculptures...

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feature

September 2012

Negation: A Response to Lars Iyer's 'Nude in Your Hot Tub'

Scott Esposito

feature

September 2012

I do not know whether I have anything to say, I know that I am saying nothing; I do...

poetry

May 2013

Flatlands

Saskia Hamilton

poetry

May 2013

Horses and geese in a sodden field. Solitaries with luggage on a wet platform. Postage-stamp house on a bit...

feature

October 2011

The New Global Literature? Marjane Satrapi and the Depiction of Conflict in Comics

Jessica Copley

feature

October 2011

Over the last ten years graphic novels have undergone a transformation in the collective literary consciousness. Readers, editors and...

 

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