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Rose McLaren

Rose McLaren is an artist in London.



Articles Available Online


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...

It is the standard procedure, when visiting someone in central Paris, to ask in advance for the door code that allows you into an antechamber from where it is possible to buzz your host’s apartment I always forget this So it is that I find myself on the street, separated from the studio of one of the most exciting artists of the era by the width of a door and my own logistical incompetence The neighbouring crèche gives me short Parisian shrift I consider how embarrassing it might be to shout ‘Philippe Parreno! Philippe Parreno!’ when the man himself emerges, smiling at my predicament I tell him that I was rebuffed by his neighbour; he explains that she was only attempting to disguise the fact that the kindergarten is Parreno’s own clandestine ideas factory, in which the superficially motiveless creative activities of the unwitting children are, at the end of the day, gathered up as R&D for new projects   The joke is a good one because, to co-opt the cliché, it is not entirely implausible in the context of Parreno’s radical, witty approach to creative practice He is an artist who has spent his career challenging received notions of how art should be made and experienced Foremost among his principles is a kind of communalist approach, appreciable in the two defining characteristics of his work The first is his disdain for the notion of artist as individual genius and his embrace of collaboration (with Dominique Gonzalez-Foerster, Douglas Gordon, Liam Gillick, Pierre Huyghe, Hans Ulrich Obrist and many others) The second is his relegation of the discrete objects in an exhibition to mere constituent parts in a wider network of relations   The exhibition is the work of art, much as in the case of opera we accept that the individual performances – of music, of set design, of the actors – should be appreciated collectively rather than in isolation We might think of Parreno as a choreographer, leading visitors through immersive, theatrical environments in which events take place according to a script or score This was in evidence during Parreno’s extraordinary

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...

READ NEXT

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April 2017

Symbols Made Me Hardcore

Joe Bucciero

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April 2017

‘A Sound System, like the property of any system, is the interaction of the sum of its parts.’ —...

poetry

June 2013

Belly

Melissa Lee-Houghton

poetry

June 2013

When I was fifteen I took my two little cousins into town and had them wait outside the tattoo...

poetry

May 2012

FINALLY RICH

Sam Riviere

poetry

May 2012

I got a job I got a job writing poems oh hi I never met you before going to...

 

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