Reading / the Robert Seydel Society of Eastern Switzerland

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This past Sunday I was happy to participate in a reading of Two Pieces by Robert Barry, from the very copy that had belonged to my late mentor Robert Seydel. It was a fantastic and friendly evening in the garden outside the new Silent Barn. A big thank you to Sonel Breslav and Nathaniel Otting for organizing it.

 

Event info:

As part of Blonde Art Books tour launch, the Robert Seydel Society of Eastern Switzerland (formerly the Robert Walser Society of Western Massachusetts) will present two pieces / some books.

1) Rick Myers will perform Fragments of a failed bullet – addendum to his recent presentation at MoMA Library
2) Lauren VHS and a sub-sub librarian from the Society will perform Two Pieces by Robert Barry (Robert Seydel’s copy)

A xeroxed booklet by Myers, Fragments of a failed bullet, will be printed especially for the occasion, and some books from the RSSES’s shelf at last weekend’s BABZ Fair will again be present.

 

 

Robert Seydel’s Book of Ruth is available through Siglio Press.

 

“Non-Participation” Essay in Art Leaks Gazette

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My essay on “Non-Participation” & artists’ strikes in the Art Leaks Gazette is now available online here.

Writers include:

Corina Apostol, Vladan Jeremić, Vlad Morariu, David Riff & Dmitry Vilensky, Milena Placentile, Jonas Staal, Evgenia Abramova, Gregory Sholette, Veda Popovici, Mykola Ridnyi, Amber Hickey, Fokus Grupa, Marsha Bradfield & Kuba Szreder (members of Critical Practice).

In addition to the essay are three sample submissions to Non-Participation, and select documents from the Art Workers Coalition archive.

 

Non-Participation in the Artleaks Gazette

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I’m happy to announce the launch of the first issue of the ArtLeaks Gazette, featuring an essay on my current project Non-Participation. The official public launch of the ArtLeaks Gazette which will take place at the Brecht Forum in NYC on Saturday, May 4th from 7 PM.

The publication will be available online and in print at the beginning of May 2013, and will be followed by a series of debates in the near future.

Artleaks was founded in 2011 as an international platform for cultural workers where instances of abuse, corruption and exploitation are exposed and submitted for public inquiry. After almost two years of activity, some members of ArtLeaks felt an urgent need to establish a regular on-line publication as a tool for empowerment, reflection and solidarity. More about ArtLeaks here: http://art-leaks.org/about

Gazette Contributors: Mykola Ridnyi, Gregory Sholette, Marsha Bradfield & Kuba Szreder (Critical Practice), Fokus Grupa, Amber Hickey, Lauren van Haaften-Schick, Organ kritischer Kunst, Veda Popovici, Milena Placentile, Jonas Staal & Evgenia Abramova
Gazette Editors: Corina L. Apostol, Vladan Jeremić,Vlad Morariu, David Riff & Dmitry Vilensky.
Editing Assistance: Jasmina Tumbas
Graphic Intervetions: Zampa di Leone

 

Non-Participation in “Year 2013” published by Komplot

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Very happy to announce that the 2013 edition of Komplot‘s Year is out now, and features my call for submissions to Non-Participation.

 

From Kmplt.be:

“YEAR is the annual yearbook showcasing a subjective, abstract, moving scene. The third issue of YEAR is, again, an almanac, a programme, a diary and a lot of glam shit handsome gorgeous terrific “blah blah blah” gathering together more than 85 prospective and retrospective contributions. Theory, poetry and narration mingle with the visual in what unravels, page after page – a landscape full of details and perspectives… Three editors have completed special sections, unfolding YEAR in an exhibition at Komplot : Île 2 France curated by Yann Chevallier, Black and Vases curated by Sonia Dermience and Alberto García del Castillo and After Howl directed by David Evrard.”

 

THE CONTRIBUTORS

Painting : Anthea Hamilton

Cover photo : Fabrice Dermience

Damien Airault, Shane Anderson, Sylvie Arnaud, Isabelle Arthuis, Sven Augustijnen, Patrick Bobilin, Francisco Camacho, Ellen Cantor, CAREFOUR, Gabriella Ciancimino, Contour, Boris Crack, François Curlet, Mathis Collins, Carles Congost, Anna Davinski Foundation, Isabelle de Visscher-Lemaitre, Federico del Vecchio, DSCTHK, Etablissement d’en Face, Jean-Yves Evrard, Tatiana Fernandez Echeverri, France Fiction, FLINT-FUYT, André Fortino, Michel François, Charles Garcin, Jill Gasparina, Mathis Gasser, Armand Gatti, Laetitia Gendre, Adel Ghezal, Karl Holmqvist, Huz & Bosshard, Vincent Honoré / Ben Cain, Hotel Charleroi, Jean Paul Jacquet, Benjamin Jaubert, Renaud Jerez, Agata Jastrzabek & Laszlo Umbreit, Ilja Karilampi, Kim Kim Gallery, Lucas Knipscher, Estelle Lecaille, Erwan Mahéo, David Malek, Fiona McKay, Estelle Nabeyrat, Michelle Naismith, Lise Nelleman, Bavo Olbrechts, Douglas Park, Gianandrea Poletta, Carl Palm, Yann Perol, Guillaume Robert, Viktor Rosdahl, John Russell, Gio Black Peter, Fabrice Pichat, Emilie Pitoiset, Sten Are Sandbeck, Timothy Stappaert, Jaro Straub, Peter Sutherland, Fleur van Muiswinkel, Benjamin Valenza, France Valliccioni, Joelle Van Autreve, Lauren VHS, Wepion.

Reproducing Authenticity – Panel for CAA & SGC, Saturday 2/16, 12:30pm

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Please join me at the 2013 College Art Association (CAA) Conference for the Southern Graphics Council International panel:

‘Reproducing Authenticity’

Saturday February 16, 2013

Hilton NYC, Sutton Parlor Center, 2nd Floor
12:30 – 2:00pm

***FREE AND OPEN TO THE PUBLIC***

Chair: Jason Urban, Printeresting.org

Truth and Reproducibility
Beauvais Lyons, University of Tennessee, Knoxville

Studio, Museum, Screen: Print & the Virtual, Authentic Image
Julia V. Hendrickson, Courtauld Institute of Art

“… originality doesn’t exist anyway, only authenticity”
Lauren van Haaften-Schick, independent curator

Craving the Mark
Lisa Bulawsky, Washington University in St. Louis

————————–——————-

Session Abstract:

Have pervasive digital technologies recast the language of print, historically a reproductive or imitative practice, as a signifier of handmade authenticity? From the bottom-up explosion of the silkscreen music poster scene, to Starbucks’ top-down embrace of the print haptic, rebranding itself with distressed, faux-printed logos, the aesthetic cues of print have become a new kind of commodity. The human hand, once considered detached from the indirect process of printing, is now strongly associated with processes once considered mechanical, like screenprinting and letterpress. Is the heroic image of craftsmen working in a printshop alluring to an audience entrenched in a world of touch screens? Images of lead type, inky squeegees, and stacks of prints on drying racks flood Youtube, Tumblr and other social media. Is it a sign of the times that the very same digital media from which we seek relief is used to celebrate analog printed matter? How has the mundane, daily digital experience reaffirmed our cultural awareness of physical printed matter and raised the status of the print from commonplace to notable (even in situations where the “printedness” is merely simulated)? This panel focuses on the language of print as a signifier of authenticity and the complex relationship of real printed matter to its life in the virtual world.

 

The Art Law Codex at Independent Curators International

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I’m thrilled to say that I will be contributing to the Art Law Codex, organized by Sergio Muñoz Sarmiento and presented at Independent Curators International on February 13, 2013.

 

The Art & Law Codex

The Art & Law Codex
Wednesday, February 13, 2013
6:30–8pm
ICI Curatorial Hub
401 Broadway, Suite 1620
New York, NY 10013
Join us at ICI for the opening reception of Sergio Muñoz Sarmiento’s project, The Art & Law Codex. The Art & Law Codex invites a group of artists, writers, curators, lawyers, and legal scholars to participate in this ongoing project.

The Codex consists of portable letter-size file boxes (approximately 11.5” x 14” x 18” each), which can be stacked with other similar file boxes, allowing for the Codex to grow in size and expand in content with time. For the initial box of the Codex, Volume I: Definition, the participants were asked to submit a document that they think defines art & law.

After the first public viewing at Independent Curators International (ICI) in New York City, the Codex will be made available to other academic and art institutions for public exhibition.

Participants include: Amy Adler, Greg Allen, Daniel Brooks, Christoph Büchel, Eric Doeringer, Cora Fisher, Felix Gonzalez-Torres, Lauren van Haaften-Schick, Nate Harrison, Bettina Johae, Soda Jerk, Alfred Steiner, Ruben Verdu, Alex Villar, Angie Waller, Ai Weiwei, and Donn Zaretsky
This event is free and open to the public. Please RSVP to rsvp@curatorsintl.org with ART & LAW CODEX in the subject field. For more information, please contact ICI’s Public Programs & Research Coordinator Misa Jeffereis at misa@curatorsintl.org.

 

Non-Participation via Artists-in-Residence at Casino Luxembourg

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Thanks to the artists-in-residence at Casino Luxembourg for posting the call for submissions to Non-Participation.

More on their project, Making of: