In this episode we talk about making art in the end times. Whathappens when the end doesn’t come? Melletios runs around naked, Tim takes drugs to dull the pain, and Malevich is stuck painting squares, forever. We discuss eschatology and the death drive as opposing forces in art making that tries to deal with the death of art (and everything else). We throw in dead supervisors, Heaven’s Gate cult, Lars Von Tres’ Melancholia and a sad triangle. Can art reclaim a power at the end that isn’t sublimated to fascist aesthetics, or the cold post-conceptualism of “smoothing the pillow” of capitalism? Oh and zombiesreturn, because, well, they are zombies.

Recorded in a gallery full of ghosts, tradie dust, and caffeine. Art school nostalgia, fascist cubes, horny helium metaphors, the politics of skill versus expression. Teenage HSC trauma & Morandi's fascism. Claude Cahun's anti-fascist love story & the erotic tragedy of the Australian adult. Shame, cringe, pedagogy, the death of sincerity in a world obsessed with skill. Seriousness as rebellion. Expression as failure. Failure the only thing still alive.

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Recorded inside an echoing Tin Sheds Gallery at Sydney University while tradies lay floorboards in the next room and reality starts to warp.

Teenage dancers take down the monarchy.

A Rolex gets scratched into a manifesto.

Hornsleth buys a village with livestock.

The line between satire and sincerity dissolves.

Silence becomes violent. Cringe becomes sacred.

Art school gets roasted.

Silence is political.

John Cage was 15 once.

This is a lecture .

There’s a theory for everything.

It’s a soft revolution with scaffolding still up.

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