ARTICLES BY josephhou

Manifestation of the Absurd: A Review of Oliverio Girondo’s Decals

Joseph Houlihan


A friend of Borges, and a massive force within the history of twentieth century Argentine poetics, Oliverio Girondo’s avant-garde language-play finds fabulous new life in Open Letter’s translation by Rachel Galvin & Harris Feinsod. Joseph Houlihan reviews.

Allen Ruppersberg: Intellectual Property 1968-2018

Joseph Houlihan


L.A.-based conceptualist Allen Ruppersberg’s Intellectual Property 1968-2018 retrospective, now open at the Hammer Museum of UCLA, is a revelation of constraint, automatism, and obsession. Joseph Houlihan reviews.

The Pools Beneath a Guillotine: A Review of Comemadre

Joseph Houlihan


Roque Larraquy’s Comemadre joins the uncanny, self-aware tradition of Kafka, Mann, Walser, Artaud, with a dash of the Three Stooges. Joseph Houlihan reviews.

This is Work: A Review of Joe Hall’s Someone’s Utopia

Joseph Houlihan


Joseph Houlihan reviews Joe Hall’s latest, Someone’s Utopia, exploring the intrinsic link between internet language and brutality, and between work and love.

The Mime Deals in Negation: A Review of A Twenty Minute Silence Followed by Applause

Joseph Houlihan


Shawn Wen’s biography in blank verse of Marcel Marceau the famed French mime establishes her as an irresistible force, much like her debut’s subject. Joseph Houlihan reviews.

Against the Narrowing of Language: On Nanni Balestrini’s Blackout

Joseph Houlihan


Blackout by Nanni Balestrini imagines a power outage in a city like New York, like the one that took place on July 13, 1977, as an opportunity for significant social change. Joseph Houlihan reviews.

Anna Maria Maiolino Retrospective at the Museum of Contemporary Art, Los Angeles

Joseph Houlihan


The Museum of Contemporary Art, Los Angeles is hosting a comprehensive retrospective on the work of the Brazilian conceptual and performance artist Anna Maria Maiolino through January 22, 2018. Joseph Houlihan goes in.