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The text I described earlier this week has 554 words and 39 of them are “can”. In total there are only 173 different words in the text, and all the others are repeats. Whenever it was possible to use a word I had already written, that’s what I did.
The high incidence of functional words is unremarkable in the text. There are 31 instances of “the”, 29 of “to”, 16 “and”s, 15 “them”s and 14 “a”s. They don’t particularly show.
Most of the other repeated words do pretty much the same job each time they come up: “tell” (10), “each” (9), “inhabitant” (9), “rhythm/s” (10), “tap” (3), etc. But I’m interested in the words like “make” (11), “part” (9), “play” (6), “pause” (6), and “you” (37), which from time to time shift their referents in significant ways.
This is our new home. In a complete change of everything, this home consists of a white studio. It means rather than making artwork in a domestic space as I have been for the past few years, I’ll be doing domestic things in an art-making space.
This weekend there were two art book fairs in London. At the Whitechapel was the achingly official London Art Book Fair, and at Oxford House was the achingly unofficial Publish and Be Damned. I found one thing at each which I want to put together.
(un)limited store had a stand at Publish and Be Damned. They’re a French publisher that produces artist books, objects and prints. I like the way they don’t differentiate too heavily between these three categories: the objects all have ISBNs like books, for instance, and come boxed and labeled to show they’re part of or published by the (u)ls project.
David Lasnier is one of the artists whose objects they publish. I bought a rubber stamp by him which reads ‘stamped’. Read the rest of this entry »
knee cushion jumper postcard
For the month ahead a printed text work of mine will be online as part of WE’RE ALL GOING TO BLOW SO THE BUILDING GOES. It’s the first in a series of month-long online exhibitions at www.gandtpresents.com. Most works in the exhibition are scans of limited edition printed artists’ books, and they’re available to download until August 9th.
The things are back where they came from now, only red. There’s a nasty hierarchy now among my things. The painted things indicate the nakedness of all the other things. Are the red things fake, or are they the only things that are real, because they acknowledge themselves? They look smug about it.
The picture below shows the framework of a discussion we held last night at the Vyner St space. We talked about LIKE WHEN YOU in connection with Claire and Altair’s Empty Studio Interviews project, as a way to think more about correspondences between studio and gallery spaces.
A number of practising artists came along and talked about how they use their studios, and many of them didn’t feel the space of the studio presented any specific problems. Read the rest of this entry »
This is John Barth’s “Life-Story” (in Lost in the Funhouse, 1968) as it approaches my work.
The protagonist, a writer, has become convinced of his fictional nature, and the third-person narrative that contains him presents continuous metatextual anxiety over the purpose of the story, its relationship to the protagonist, and hence the purpose of the protagonist. This anxiety finds expression in the tension of linguistic representation, and namely in the fluid exchange between grammatical and semantic fields. A sentence like the following:
“Through a lavender cascade of hysteria he observed that his wife had once again chosen to be the subject of this clause, itself the direct object of his observation” (p. 126)
threatens the destruction of the fictional world, but resists entirely dismantling it. The destruction here finds purchase in a rhyming malapropism (wisteria-hysteria), and this simultaneity of irreconcilable elements is maintained in a radical slicing through representation. Read the rest of this entry »
Some of the work I’m making has trouble sitting in the world. With the ocagraph and the cut-up books and the marked-up books there’s some tension about whether they’re real or not – are they examples? Propositions? Who’s meant to have made them? Doing some experiments with one of the cut-up books yesterday morning it became clear that I have to think of them as propositions or they don’t do the right thing.
With this in mind, I want to go over my ideas for exhibiting the body of work I’ve made over the past year. My intention up to today has been to put all the work on a desk in boxes and files – like a reading room – and to display a schema charting the relationships between the works. Read the rest of this entry »
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