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Rose McLaren

Rose McLaren is an artist in London.



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Talk Into My Bullet Hole

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July 2015

Rose McLaren

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July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for those people?’ ‘Oh, I don’t...

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May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

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May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

Luke Hart will meet me at Gate 7 I get the text on the DLR, heading east past Canary Wharf through the dusty warmth of a London summer The train approaches Silvertown, a tapestry of brownfield plots, derelict factories, foul-smelling chemical plants, low-rise terraces, gated estates, arterial roads, dead ends, trash heaps, show homes, cracked concrete and prolific weeds We arrive at Pontoon Dock, where I am the only person who disembarks This, in my experience, is typical of the area: you often feel as if you’ve entered an evacuated part of town     I’ve come to Silvertown to visit the artist Luke Hart, who is constructing a new temporary outdoor sculpture on the quayside of Victoria Dock Hart and I were both students at the Royal College of Art ­– same year; different courses – although we never actually met For his degree show in 2013 Hart showed ‘Fractal Weave Structure I’, a tall, three-legged sculpture built from segments of steel tube, each tube connected to the other by a tangled joint made from polyurethane   Proving Ground: Trailer from Luke Hart on Vimeo   In terms of its size and the arachnid connotations of its articulated legs, the piece bore a loose resemblance to ‘Maman’, the 30-foot-tall spider by Louise Bourgeois first shown in Tate Modern in 2000 Bourgeois described the bronze, marble and welded-steel sculpture as ‘an ode to my mother’, who died when Bourgeois was 21, but the title of the work – a cosy French nickname similar to ‘mummy’, ‘mama’ or ‘mum’ – is very nearly a homonym of ‘mammon’: a word translating variously as ‘riches’, ‘greed’ or ‘material wealth’ Whether or not you find this double entendre significant will depend upon how cynical you are about the effects of corporate sponsorship on artistic production – ‘Maman’ was funded by Unilever   The resemblance of one large and more or less spidery sculpture to another is, on one level, a mere coincidence But the comparison of Hart to Bourgeois’ work, ‘Fractal Weave’ to ‘Maman’, reveals how the relationship

Contributor

August 2014

Rose McLaren

Contributor

August 2014

Rose McLaren is an artist in London.

The Prosaic Sublime of Béla Tarr

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Issue No. 6

Rose McLaren

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Issue No. 6

I have to recognise it’s cosmical; the shit is cosmical. It’s not just social, it’s not just ontological, it’s really huge. And that’s why we...
Stalker, Writer or Professor? Geoff Dyer's Zona and Genre

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February 2012

Rose McLaren

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February 2012

‘So what kind of a writer am I, reduced to writing a summary of a film?’ wonders Geoff Dyer half way through Zona. Such...

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poetry

December 2011

Sonic Peace

Minashita Kiriu

TR. Jeffrey Angles

poetry

December 2011

Beneath the sun My interchangeable routines Are formed from superfluous things Managing this place is A metal will, swelling...

Interview

December 2016

Interview with Caragh Thuring

Harry Thorne

Interview

December 2016

When I first visited Caragh Thuring in her east London studio, there was an old man lurking in the...

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October 2013

Enjoy His Symptoms?

Michael Sayeau

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October 2013

We lack the philosophers that we require for an era marked by agitation and occupation. From the UK student...

 

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