Sanity Assassin, 89–96


Reason Without Reason


JJ-L: I think this might be a good moment to turn more directly to the work you have made for Sanity Assassin. You speak of the world authored by us, but in your work these subjectivities are aimed at particular narratives derived from Critical Theory, the narratives that extend from it, references to the violence of U.S. pulp-fiction-style anti-heroes and cinematic representations of subjectivity. We have talked at some length about Shulman and how his images of LA are embedded in a wider ideological framework that seeks to impose an anti-humanist ontology. Perhaps you could now say more about how this is brought into conflict with the other spatial, theoretical and political subjectivities and narratives that are played out in the exhibition? Or perhaps more specifically, could you say more about how you stage what we might now describe as an uneasy coexistence of representational systems?…