Neoist Alliance boycott Stockhausen protest, 1993
Again, A Time Machine – Part five
From his earliest work Stewart Home has expressed an avantgardist desire to write himself into the archive of culture. Mixing myth and polemic, with plagarism and a savage ideological critique, the parodic manifestos of Generation Positive, progressed into the self- historicising magazine Smile, the Neoists, and finally The Art Strike — an aggressive appropriation of Gustav Metzger’s strike proposal. Home’s return to anti- art practice saw the publication of a rash of polymorphous perversities, including Red London, and Defiant Pose, exhibitions at City Racing, workfortheeyetodo, and with Imprint 93, as well as ongoing performance, prank and film work. His cultural output now forms a significant archive of counter-cultural activities, not only written into the archive of culture, but networked across it, in a practice which seamlessly moves between unearthing unknown radical histories such as Black Mask — Up Against the Wall Motherfuckers, reworkings of Lettrist Cinema, and writing projects, such as Book Works’ recent Semina series.
Presented as part of Again, A Time Machine, alongside the ongoing A Poster Project by Jonathan Monk, this is the first US retrospective of Home’s work and features a selection of artwork, including Art Strike Bed, Vermeer II and Becoming (M)other, publications and ephemera and a live performance with Kenneth Goldsmith.
October 22 – November 19, 2011
White Columns, New York
Pamphlet announcing the Art Strike 1990-1993