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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...

The apology had been the most charged and contested gesture between us, the common element in arguments whose subjects ranged from the trivial (courtesies, chores, choice of entertainment) to the significant (knowledge, character, politics, futures), though, as in any relationship, over time these categories of trivial and significant had become impossible to distinguish from one another, so that as a consequence we lived in a double state of nearly unbearable meaningfulness and meaninglessness – or, rather, forever suspended on the precipice of either: pre-meaningful or pre-meaningless What was unbearable, of course, was the extremity of each condition, but also the not-knowing in advance which condition would be applied (by us, naturally, but as if by some ‘outside agent’) to any given situation At times, it proved difficult to disentangle the act of, say, washing a plate to a lower-than-expected standard from the vast network of feeling and history in which all prior actions were somehow implicated On other occasions, feelings or memories which we had previously considered our ‘deepest’ or most important became somehow neutralised, or evacuated of significance, a phenomenon which we (or at least I) experienced with a weird elation I barely understood: sometimes, in the middle of what seemed to be a critical or even terminal conflict, a sudden tear or opening would materialise in the argument and through it would flood an understanding of its total inconsequence; thus we could find ourselves laughing, sometimes to the point of near-hysteria, at my total resistance to the idea of having children, or her ongoing trauma resulting from a sexual assault during adolescence, or any of the dozen or so other enduring obstacles to our happiness we thought of as ‘major issues’ Regardless of the ‘condition’ we found ourselves in, however, the apology was always a dangerous and unstable element to introduce In the former condition (of excessive meaning), its basic insufficiency or unreliability as a speech act guaranteed the irresolution, and often the escalation, of most conflicts ‘Sorry,’ I would say, not meaning it, having crunched a prawn cracker ‘too loudly’, and inevitably my non-belief in the

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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Interview

May 2011

Interview with Alison Klayman

Shepherd Laughlin

Interview

May 2011

Until his arrest in Beijing on 3 April as he boarded a plane to Hong Kong, Ai Weiwei was...

Art

October 2015

Licence to Play

Thirza Wakefield

Art

October 2015

In his 1992 essay ‘In Search of the Centaur’, the writer and critic Phillip Lopate described the essay-film as...

feature

Issue No. 10

Vern Blosum, Phantom

William E. Jones

feature

Issue No. 10

Chatsworth, established in 1888 in the northwest corner of the San Fernando Valley, took its name from the family...

 

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