Cine Qua Non #6
English and Portuguese texts

INDEX
NOTAS EDITORIAIS / EDITORIAL NOTES
Ana Luísa Valdeira da Silva

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Por fora / From abroad

AN AUTOBIOGRAPHICAL STATEMENT / UMA DECLARAÇÃO AUTOBIOGRÁFICA
John Cage

THINKING, YET AGAIN ABOUT JOHN CAGE / PENSAR MAIS UMA VEZ EM JOHN CAGE
Christian Wolff

FIVE STATEMENTS ON SILENCE BY JOHN CAGE / CINCO DECLARAÇÕES SOBRE O SILÊNCIO DE JOHN CAGE
James Pritchett

JOHN CAGE & MERCE CUNNINGHAM
David Vaughan

CAMERA-READY CIRCULAR VISUAL POEMS
Richard Kostelanetz

Ensaios / Essays

COLOR AND POWER: REFLECTIONS ON MATISSE IN A.S. BYATT’S “ART WORK” / (DA) COR E (DO) PODER: REFLEXÕES SOBRE MATISSE EM “OBRA DE ARTE” DE A.S.BYATT
Alecia Sudmeyer

OLHAR O TEATRO CONTEMPORÂNEO: UMA PERSPECTIVA NÃO TOTALITÁRIA / LOOKING AT CONTEMPORARY THEATRE: A NON-TOTALITARIAN PERSPECTIVE
Gustavo Vicente

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Por dentro / Inside of

A OFICINA DA CANÇÃO / THE WORKSHOP OF SONG
José Mário Branco

O TEMPO, FODA-SE, O TEMPO. ALGUMAS NOTAS SOLTAS SOBRE JÁ PASSARAM QUANTOS ANOS, PERGUNTOU ELE / THE TIME, THE FUCKING TIME. SOME NOTES ON HOW LONG HAS IT BEEN, HE ASKED
Rui Pina Coelho & Gonçalo Amorim

SPOILER
A VERGONHA DOS OUTROS / THE SHAME OF OTHERS
Jorge Vaz Nande

D 8€
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PORCINO
68 Skalitzerstrasse, Berlin
(in the hole inside Chert Gallery)
Opening reception June 18 at 8pm.

“I Am Down Here With the Boogens After All” – Ed Steck
A self-portrait is a reflection.

A self-portrait is a reflection: materials constructing images, sensations structuring
architectural moments (definitive personal modulations), chronological impertinences,
yourself creating your self, a frozen practice of an accumulative entirety until a singular
point, the expression before the potential atmospheric capsizing. It is a resolution of the
self-encapsulated within the frames of an image; it is how one is seen while seeing.
“I Am Down Here With the Boogens After All” is a day-book-like piece of self-portraiture
that follows the perspective intake of an individual (a subject, a viewer) constantly
absorbing material references. It is a moment of loss fixated on the repetitious revisiting of
the mundane, the familiar, and sensational: misremembered memory to personal insertions
into film, entering the fixed present to relive a cultivated past, and human grotesqueness to
exaggerated special effects.
A self-portrait is a manufacturing of a self-portrait.
Ed Steck is a writer from Southwestern Pennsylvania. He currently lives in Pittsburgh, PA.
Publications include A Time Stream in Spaces: The Cultic Parody of Time-Induced Capital
published by West as part of the Let Us Keep Our Own Noon group show, Field of Vision
– a limited edition chapbook published by Reactor Press, Beach published as part of “Public
Access” in collaboration with David Horvitz, Chinese Bondage in Peru in collaboration
with Wintergarten LTD, and Mountain as part of “Archive for a Mountain” by Marc
Handelman’s solo exhibition “Geological Sketches at Home and Abroad” at Sikkema
Jenkins & Co. His work has appeared in the anthology Strange Attractors: Investigations
In Non-Humanoid Extraterrestrial Sexualities published by Encyclopedia Destructica,
Capricious Magazine, the Brooklyn Rail, LIT (forthcoming),1913: a journal of forms
(forthcoming), in the publication for the 2012 Columbus Prize Exhibition at Kunsthalle
Ravensburg on the work of painter Natalie Haeusler, and with a contribution in Omer Fast:
5,000 Feet Is Best published by The Power Plant and Sternberg Press. He is one third of
American Books. He graduated from Bard College’s Milton Avery Graduate School of the
Arts.

Open by appointment only. Please contact David at hikarusaru@gmail.com

SOUTH as a State of Mind grew up fast to become a bi-annual contemporary arts and culture magazine published by Epomenos Stathmos (Greece) and Phileleftheros Publishers (Cyprus) and distributed internationally. People from different -literal or metaphorical- Souths are renegotiating the southern attitude, partly to define it and partly to invent it. Possessed by a spirit of absurd authority, we are trying to contaminate the prevailing culture with ideas that derive from southern mythologies, such as the perfect climate, easy living, chaos and the dramatic temperament, to name but a few. Each 160-page issue includes a thematic section and columns inspired and named after key traits of southern life. Through our twisted – and southern – attitude, expressed through critical essays, artist projects, interviews and features, we would like to give form to the concept of the South as a state of mind rather than a set of fixed places on the map. Opening up an unexpected dialogue among neighbourhoods, cities, regions and approaches, SOUTH as a State of Mind is both a magazine and a meeting point for shared intensities.

This issue features: ARCADIA, Juergen Teller, Anafi, Martin Kippenberger, Temenos, and others

Author: Marina Fokidis (ed.)
Language: English
Pages: 160
Size: 23 x 32 cm

Price: €10.00
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This artist’s book is a collection of eleven items including booklets, photography, posters by Erik Steinbrecher. This publication accompanies the artist’s exhibiton at the Kunstbibliothek in Berlin from 8 November 2012 to 17 February 2013. The show presents books, prints and other artworks from 1995 to 2012.

The titles of the items included in the bag UBER ALLES are:

Zermatt
1 Paar Schuhe/ pair of shoes
Keramik
Butike
Feuerzeug
Astra Turbo
Knacki Knacki
Bierli
Frutta
Wie am Schnürli
Free Poster ( Ei/ egg)

Author: Erik Steinbrecher
Publisher: Erik Steinbrecher, Kunstbibliothek – Staatliche Museen zu Berlin, Rakete.co
Language: English
Size: 30.5 x 24 cm
Binding: Softcover

Price: €35.00
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Reading Ed Ruscha focuses on the painter Ed Ruscha’s artistic interest in books, writing, and the act of reading as pursued by him over a period of five decades. Text and the written word appear in his works as motifs and symbols, or as actual objects in the form of books. A range of artistic means are used to explore and manipulate reading as a meaning-generative process. The essays written for this catalog book by Douglas Coupland and W. S. Di Piero approach these issues through literary and poetic forms. Beatrice von Bismarck examines the book as work, medium of publication, and exhibition format, while Yilmaz Dziewior presents an overview of Ed Ruscha’s engagement with the book as a medium and his relation to the written word. Large-format illustrations of exhibits, installation views, and an extensive appendix supplement this book.

Author: Yilmaz Dziewior (Ed.)
Language: English / German
Pages: 256
Size: 30 x 24 cm
Binding: Hardcover

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Based on Swiss psychiatrist Moritz Tramer’s “Bücherkatalogtest” from the 1950s, this personality test “tries to evoke different interests that lie buried deep down in each of us” using 432 book titles as a method of examination. An comprehensive user’s manual is included. — This book was published as an edition for the Contemporary Artists’ Book Conference during the New York Art Book Fair 2012, in order to help keep their two-day symposium free to the public.

Author: Triin Tamm
Publisher: Rollo Press
Language: English
Pages: 144
Size: 21 × 29.7 cm

Price: €22.00
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French photographer Patrick Cariou accused Richard Prince of copying 41 images of rastafarians and landscapes from his book Yes Rasta, which Richard Prince was using for a series of paintings and collages called the Canal Zone. A deposition is the out-of-court oral testimony of a witness that is reduced to writing for later use in court. In such a scenario Richard Prince had to explain and defend his art, his career, and his decades-long practice of appropriating images made by others. Collected and arranged by artist and blogger Greg Allen, this Q & A must be the most detailed insight about his career and work he ever gave to this day. For a maximum of almost seven hours he had to answer the extensive, confrontational questioning by the attorney of Patrick Cariou- under oath.

Author: Greg Allen (Ed.)
Publisher: Bookhorse
Language: English
Pages:272
Size: 18 x 11 cm
Weight: 205 g
Binding: Softcover

Price: €15.00
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In 2009 + 2010 Californian artist David Horvitz drove up the entire California coast with various friends. The trip started at the beach just north of the Mexican American border and ended in Oregon at Pelican State Beach. Along the way Horvitz made photographs of over 50 different state beaches. In each photograph he stood anonymously on the sand looking out at the ocean, reminiscent of Bas Jan Ader or Caspar David Friedrich. The photographs were then uploaded to each of the specific beach’s Wikipedia page to illustrate the articles. An example is Borderfield State Park. His intention was for these images to become the visual meta data for the specific beaches, and for the images to openly circulate as they are sourced and resourced online. At one point a discussion emerged on Wikipedia discussing the legitimacy of his photographs. This resulted with many of the photographs being deleted. This is the second book of the Public Access project. It contains photographs, scans of Wikipedia articles, and the complete conversation from Wikipedia discussing Horvitz’s image. It also contains various texts written by Horvitz about the project, as well as personal stories about the California coast. This project was originally commissioned by SF Camerawork for an exhibition with the writer Ed Steck (a close friend of Horvitz). A new version Steck’s text concludes the publication. This was designed by Miya Osaki. Read more about Public Access on Rhizome.

D 22€
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The book “Watercolors” is documenting a one and a half year long correspondence in form of watercolors sent via email between Natalie Häusler and David Horvitz.

D 24€

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Erg and WIELS invite you to the talk by Patricia Falguières, on the occasion of the launch of two books:

White Cube – L’espace de la galerie et son idéologie        
Les Cabinets d’art et de merveilles de la Renaissance tardive. Une contribution à l’histoire du collectionnisme.