All the World’s End
Issue

11.1 / All the World’s End

November 1 2019

Introduction

Art Practical Editors

Lisa: All through history, self-anointed seers have predicted the end of the world, and they've always been wrong.
Homer: But sweetheart, I have something they didn't have: a good feeling about this!
— “Thank God It's Doomsday,” The Simpsons (2005)

 
It’s 2019, and the world is ending.

The Doomsday Clock points two minutes to midnight. One million species are threatened with extinction. As the climate crisis escalates and the sixth mass extinction approaches, we are not only thinking through all the things that are coming to an end, but also business-as-usual behaviors being called to end. In the field of art, movements are growing throughout the world, calling for the end of putting artists on pedestals with disregard for their behaviors and actions; an end to receiving support from individuals who profit off the harm of others; and an end to institutional systems that exploit the labor of artists, educators, curators, and other arts workers alike. This fall, as fires burn in and around our homes in California, we have asked writers to contribute to ideas around different forms of ends to critically twist the doomsday narrative into one of possibility and futurity.

Features

(faltering to extinction)

(faltering to extinction)

By Vivian Sming

What does it mean to no longer be able to speak, whether due to the disappearance of one’s language, or due to the erosion of public discourse in today’s atmosphere?

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Memorandum for a Former Embassy

Memorandum for a Former Embassy

By Gelare Khoshgozaran

Drawing from cinematic engagements with the histories of the 1970s and '80s, the writer turns to embassies, in particular the abandoned Iranian embassy in Washington, D.C., to imagine a world without states and borders.

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No Resolution: Toward the End of the End of AIDS

No Resolution: Toward the End of the End of AIDS

By Elena Gross

One way we can read the continued activism of ACT UP, the expansive and multidisciplinary work of curator-activists like ted kerr, and the re-presentation of historic events in popular culture like Pose, is in an effort to reposition and recontextualize “AIDS of the past” as firmly within, and integral to understanding, “ongoing AIDS.” The work is not yet done. AIDS, it turns out, is far from over.

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