Then let the story really begin in 1968, though it has little to do with May. By chance it opens in January of that year, and it really concerns me rather than the world of political events, though these are always on my mind, as they were always on my mind.

Future Imperfect, Adrian Rifkin’s short Bildungsroman sets beside each other the fault lines of events and moments recalled without a diary with the verification and sometimes undermining effects of new research of materials, the recovery of what was known, what might have been known, and what was merely probable, as if this were a history of the history of art.

Adrian Rifkin speaks to Pierre d’Alancaisez about the uses of radical pedagogy, dreams, art history, and the economy of memory. Wagner and the Teletubbies also feature.

Adrain’s performance Hypotheses and Loving Contradictions at Haus der Kunst, 2017
The White Pube 🎨🖌️🐀
Jeffrey Steele
Robert Motherwell
Artangel
Afterall
Allan Sekula’s Fish Story
Elizabeth Price
Anne Tallentire
Hanne Darboven
Hans Eysenck

Adrian Rifkin is a writer and art historian engaged in contemporary art, film, classical and popular music, canonical and mass imagery, literature and pornography. Until recently he was Professor of Art Writing at Goldsmiths. He is the author of Street Noises: Studies in Parisian Pleasure, 1900-40, and Ingres Then, and Now. His collected essays appeared as Communards and Other Cultural Histories and his work was the subject of the anthology Inter-disciplinary Encounters.

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Future Imperfect, The Past Between My Fingers

Adrian Rifkin

Published by Ma Bibliothèque, 2022
ISBN 9781910055885

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Frans-Willem Korsten: Art as an Interface of Law and Justice

VerdurinBy Pierre d'AlancaisezJul 21, 2021