Joëlle Tuerlinckx: A Stretch Museum Scale 1:1 – Invitation / Uitnodiging / Invitation to a stretched walk 1:1 in a compact museum. Une promenade à échelle 1:1 dans une arhitecture de Aldo Rossi
Bonnefantenmuseum, Maastricht (2001)
Author: Joëlle Tuerlinckx
Publisher: Bonnefantenmuseum, Maastricht
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Auditing Intimacy catalogues the last five years of O.J.A.I.’s postcard correspondence. In addition to over 80 images, the publication contains a specially commissioned essay by curator Alicja Melzacka dealing with self-institutionalization – the performing of the self as an institution – as an approach to artistic research and performance. There is a lexicon disambiguating the invented bureaucratic jargon O.J.A.I. produces and circulates around their practice.
Office for Joint Administrative Intelligence is the collaborative practice of artists Chris Dreier (DE) and Gary Farrelly (IRE/BE) since 2015. The work is fueled by a recurring obsession with architecture, infrastructure, finance, conspiracy theory, institutional power and magic. O.J.A.I. pursues a strategy of self-institutionalization where tools and codified rules of engagement are appropriated from economic and political infrastructures. The work meets the public as performance, sound art, installation, cartography, publications, and a radio show (transmitted on Dublin Digital Radio and Cashmere Radio, Berlin). O.J.A.I. has performed and exhibited work at AAIR Antwerpen, Damien and the Love Guru, ISELP (Brussels), Laura Mars Gallery (Berlin), Grölle Pass Projects, Gold and Beton, University of Texas, Marres Center for Contemporary Culture (Maastricht) and Horst Festival (Villevord).
Author: Gary Farrelly, Chris Dreier
Publisher: Zero Desk
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Einstein’s Joke’ was conceptualized by Eldon Garnet, shot as a super-8 film by Duncan Johnston, with Jack McCluskey as the second peasant. The issue was released as a 4″x6″ microfiche (‘cinefiche’) and an invitation to screenings of ‘Einstein’s Joke’ in San Francisco and Toronto
Les Levine
Author: Eldon Garnet (Ed.)
Publisher: impulse [b]
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Max Neuhaus began his career as a musician, a percus-sionist. He continues to use sound as his medium. Why. then, do we find his works in the world of art, in places dedicated to seeing, not to listening? Why, in other words, does so much of his work appear on sites, indoors and out, where we would expect to find painting and sculpture? I think answers to these general questions about Neuhaus entire oeuvre must precede the attempt to say anything in particular about specific pieces. We must account for what appears to be an immense, overarching anomaly before taking up the puzzles presented in turn by each of Neuhaus various works.
Autor: Max Neuhaus
Publisher: Kunsthalle Basel
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Here live the near-blind. In their eyes the city dwells like aureoles on suckling lips. Here they apprehend the city with knowledge viscous and immediate. And here they also live uneasily, for tranquillity is found only in pictures they are disinclined to make.
In essays, letters and aphorisms, this book makes near-blindness tangible as one condition of living in. protracted war.
Author: Walid Sadek
Published and distributed by Motto Books Co-published by Agial Art Gallery
Text editing: Mika Hayashi Ebbese
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Symphony #2 includes reworkings and remixes from Symphony #1 and new material composed while in residency at Hull Time Based Arts, UK 1999 and on tour 1999-2001.
Performance for fourteen dot matrix printers played by an orchestra of personal computers from the early nineties and conducted by a similarly obsolete file server, based on text files composed and orchestrated beforehand.
Track 12 (in keeping with the concept of the cd) is not simply an untitled track. The printers are not printing anything – the track simply consists of the amplified hum of all 14 printers, and then they are all manually switched off, one by one.
credits
released June 1, 2020
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Anatomie of a Bird. Romain Bertheau. (Cassette)
“After two organ albums dedicated to combinations of sound, rhythms and auditory illusions, here is a very different object.
These 4 pieces are basically improvisations based on skeletal micro-compositions, generally less than a dozen chords. Played on the same organ as my previous recordings, I tried this time to emphasize the harmonic colours, the choice of registers and inversions, the intonation, the textures and modulations.
Composed in the morning and recorded in the evening the same day, I let myself go as the takes went by towards a more and more vaporous and melancholic universe.
The album is played entirely on the Italian style organ built by Jean Daldosso. It was harmonized in the church, which allowed the organ builder to optimize the power and the sound balance of the organ in relation to the building. A simple microphone in the middle of the church.”
– Romain Bertheau.
Tracks:
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Klara Liden
Statement
Part of me is this poor architect dealing with the prob lem of existing structures in the city, part of me is this amateur dancer or performer who wants to return ideas of rhythm to the activity of building, or of re-appropriating the built environment. Building is also un-building, re cycling or improvising new uses for what’s already been set up in places like New York, Berlin or Stockholm, whether in a museum or in my own apartment, and th ques tion of re-appropriating privatized, urban space always somehow begins with the body, its ways of moving and the temporalities it engages when it goes to work or opens up spaces of non-work in work. There is an idea of play that prefers not to decide what is and what isn’t work, what is and what isn’t useful in the activity of building. Use, most of the time, means diverting materials or spaces from their prescribed functions, inventing ways of making these things improper again. Aside from my interventions in galleries and museums, I have done things like set up a year-long, free postal service in Stockholm, built an underground house on city property in Berlin, removed ad Vertisements from downtown areas, made music with my house keys and moonwalked around Lower Manhattan.
Artist book on the occasion of the exhibition Non-solo show, Non-group show, interview with Ei Arakawa, Nikolas Gambaroff, Nick Mauss, Nora Schultz and Klara Liden (Engl.), 236 pp. with 200 b/w images, Verlag der Buchhandlung Walther König, Cologne, 2010.
The book is a joint project by the artists Ei Arakawa, Nikolas Gambaroff, Nick Mauss and Nora Schultz, realized on the occasion of their exhibition Non-solo, Non-group show in Zurich in 2009. It s the first monograph on Klara Liden and documents her works from the recent years – performances, videos and installations, that often incorporate found materials to explore the conditions of physical as well as of psychic spaces. It choses a form between artist book and catalogue, that draws on the DIY-aesthetic of Liden’s works and gives an overview of her artistic practice.
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Editorial
Rebuilding the Bog
Summer Islam
Oltre Terra
Formafantasma
Seeing the Landscape
Janna Bystrykh and Paul Overby
Watery Constellations
Sara Frikech
Public Works at the Periphery:
AMLO and the Urban Improvement Program
Departmento del Distrito
Francisco Quiñones and Nathan Friedman
Reviews:
David Gissen, “The Archies tres
¡Disabilitv: Buildings, Cities, and Landscapes beyond Access.
by Jos Boys.
Anna Bokov and Steven Hillyer Curators,
“Vkbylemas: Laboratgry of Modernism, 1920-1930.
Expibition’at the Arthur A, Houghton J, Gallery, The’Cooper Union, by Dan Jonas-Roche
Patricio del Real, “Constructing Latin America: Architecture, Politics, and Rad at the Museum of Modem Art,” by Luis E. Carranza
Adam Nathaniel Furmandigshua Mardell, eds.,
*Queef Spaces: An Atlas of LGBTQ+ Places and Stories, by Jätter Kolb
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A series of prints on the overlooked story of mysticism within modernity, made to accompany Beyonsense, Slavs and Tatars’ Projects 98 exhibition at the Museum of Modern Art in New York.
2012
mimeograph print,
dimensions variable (if framed 70 x 100 cm)
edition of 30 (+1 AP), numbered
300€ plus tax and shipping
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