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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...

Painter, performer, poet, writer and mystic Brion Gysin (1916-86) was an early prophet of our age He was a pioneer of the cut-up method, a technique that in many ways anticipated the internet’s impact on the way that we break down information and ascribe meaning to symbols and words   His innovations include early sound poetry and a scientifically-researched device known as the Dreamachine Despite forging a creative practice that would influence some of the twentieth century’s most important artists, from the Beat Generation to Bowie, Gysin has slipped into relative obscurity His anonymity is in stark contrast to his lifelong friend and collaborator William S Burroughs, whose Naked Lunch became a countercultural bible and must-read for any teenage recluse Gysin was born in England to Canadian parents in 1916 He was introduced into Surrealist circles while studying at the Sorbonne, and after the war accompanied Paul Bowles to Morocco It was there that Gysin met Burroughs The two ended up back in Paris together in 1958 at the infamous Beat Hotel Their experiments with the cut-up technique, in which words and phrases are literally cut up into pieces and rearranged to disassociate them from their received meanings and reveal new ones, culminated in Burroughs and Gysin’s The Third Mind, a book-length collage manifesto on the possibilities of the practice From the late 1950s to the early 1960s, Gysin’s style manifested itself in a series of calligraphic paintings and drawings that he produced in Morocco Fluent in written Japanese and Arabic, Gysin’s script-like canvases represent an attempt to fuse writing and painting into a single complex system of mark-making He used a grid formation, making marks from top to bottom as well as right to left, to create a dense pattern of abstract language Circa 1960, Gysin collaborated with Ian Sommerville, a mathematician and budding computer scientist studying at Oxford He and Sommerville were attempting to computerise the shift and change of words and sounds, naming these experiments with printed words and magnetic tape Permutations Works like ‘Pistol Poem’, comprised solely

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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April 2017

The White Review Short Story Prize 2017 Shortlist (US & Canada)

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April 2017

click on the title to read the story   1,040 MPH by Alexander Slotnick   Abu One-Eye by Rav...

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Issue No. 16

Editorial

The Editors

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Issue No. 16

The political and internet activist Eli Pariser coined the term ‘Filter Bubble’ in 2011 to describe how we have...

Art

January 2012

Interview with Ryan Gander

Timothée Chaillou

Art

January 2012

London-based conceptual artist Ryan Gander masters the art of storytelling through an immensely complex yet subtly coherent body of...

 

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