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Lauren Elkin
Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage). Her previous book Flâneuse: Women Walk the City (Chatto/FSG) was a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, a New York Times Notable Book of 2017, and a BBC Radio 4 Book of the Week. Her essays have appeared in Granta, the London Review of Books, Harper’s, the New York Times, and Frieze, among others. Her next book, Art Monsters, will be out in July 2023 (Chatto/FSG). She lives in London.

Articles Available Online


Maria Gainza’s ‘Optic Nerve’

Book Review

May 2019

Lauren Elkin

Book Review

May 2019

In his foreword to A Thousand Plateaus, on the pleasures of philosophy, and of Deleuze and Guattari’s philosophy in particular, Brian Massumi writes:  ...

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Issue No. 8

Barking From the Margins: On écriture féminine

Lauren Elkin

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Issue No. 8

 I. Two moments in May May 2, 2011. The novelists Siri Hustvedt and Céline Curiol are giving a talk...

I’ve never been ghosted by a work of art before, but I guess there is a first time for everything On entering Martine Syms’s new solo exhibition at Sadie Coles, I am confronted by Mythiccbeing (2018), an enormous video installation comprised of hundreds of miniscule LEDs Intermittently, a phone number comes up on a screen with the words ‘text me’ and I’m promised that if I interact, this work will respond When people refer to a piece of art communicating with the audience it isn’t usually meant in the most literal sense, and in my case at least, I’m left clutching my phone anxiously waiting for a text back to: ‘Hi bbz… How are you? What are you thinking about RN? Hellooooooo’ As the message bubbles gently shift from blue to green I feel an involuntary sense of dread – it appears even a chat bot can crush your self-esteem   This could easily be a Machiavellian trick designed to compound the overarching sense of social anxiety that fills the gallery Mythiccbeing is undoubtedly the focus, featuring a complex three-dimensional rendering of Syms’s face which appears to be imbued with her own physical characteristics: a brief sigh, a gentle move of the lips or a slight turn of the head This vision is interspersed with a montage of mundane video clips, random blocks of text and found imagery, all of which coincide with Syms’s enigmatic voiceover She reels off seemingly inconsequential and classically millennial thoughts around sex, money and everyday drama, all conveyed in the kind of language you would share with your friends in a group chat, as well as trance-like sexual interrogations: ‘Girl you like that? Girl you like that?’   These rapid switchbacks between hyper-erotic speech and trivial chat perfectly mimic the splintered communication most of us engage with every day through an onslaught of texts, DMs, emails and phone calls Combined with Syms’s own image, it’s as if you are getting inside her head at that exact moment when it feels like the brain can’t take it anymore, and the notion of a ‘digital detox’ promises sweet relief   Mythiccbeing, is

Contributor

August 2014

Lauren Elkin

Contributor

August 2014

Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK...

The End of Francophonie: The Politics of French Literature

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Issue No. 2

Lauren Elkin

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Issue No. 2

I. We were a couple of minutes late for the panel we’d hoped to attend. The doors were closed and there was a surly-looking...

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Art

July 2015

Michaël Borremans

Ben Eastham

Art

July 2015

Michaël Borremans is among the most important painters at work in the world today. His practice combines a lifetime’s...

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Issue No. 4

The White Review No. 4 Editorial

The Editors

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Issue No. 4

We live in interesting times. A few years ago, with little warning and for reasons obscure to all but...

Interview

August 2016

Interview with Daniel Sinsel

Rosanna Mclaughlin

Interview

August 2016

In the decade after leaving Chelsea School of Art in 2002, Daniel Sinsel made a name for himself with...

 

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