Tuesday, July 31, 2012
Fluxus Anthology 30th Anniversary 1962-1992 Sound Events
Hertogenbosch, The Netherlands: SLOWSCAN, 1993
8 cassettes housed in a silkscreened wooden box
Numbered edition of 200 (plus 60 artist copies) with a deluxe signed edition (in a hexagonal box) of 38.
Also includes a 204 page A4 book of material related to the artists on the cassettes, including many pictures, and an extensive discography of Fluxus recordings, plus scores by Joe Jones, Dick Higgins, Robert Filliou, Henning Christiansen, Wolf Vostell, Ken Friedman, and Eric Andersen.
Side A recorded at KRAB Radio, Seattle, Washington, September 1977.
Side B recorded at the Roma Zoo, October 1985 in collaboration with Lorenzo Mammi, Roma.
Side C recorded in mono at New Wilderness Studio, New York by Ondine Fiore, December 1977.
Side D recorded at Radio Vienna, Austria, 1990.
Side E recorded in the artist's former apartment in New York City.
Side F recorded in Linz (Austria) for "Ars Electronica Festival" 1988.
Sides G & H recorded at Gallerie Lavignes, Bastille, Paris, France, 1990.
Track I1 recorded at Bonn Kunstverein Fluxus performance festival 1989.
Track I3 recorded at Galerie Kolon in 1989.
Side K recorded at Big Orbit Gallery, Buffalo on November 9, 1991.
Track L3 recorded on 27-12-1991 Stuttgart.
Track M1 recorded in New York 1991.
Track M3 is an excerpt from a 5 hour performance recorded in the streets of Quebec City during the "Day of the music" by United Nations on October 1, 1988.
Track M5 recorded at Judson Church, New York 1977.
Track M6 recorded during a phone conversation between Ben & Jan van Toorn, December 15, 1994.
Track N6 recorded October 11th 1992 in 's-Hertogenbosch.
Track N7 recorded live on September 9, 1994 during the opening of Ay-O's 'Hanging Pieces' exhibition at Kasseler Kunstverein, Museum Fridericianum Kassel.
All tracks previously unreleased, except M1 and N2.
A George Maciunas Seattle Interview 1977 (43:00)
Interviewer - William Woods
B Henning Christiansen "Symphony Natura" Op.170 (43:00)
Featuring - Lorenzo Mammi
C Robert Filliou Whispered History Of Art (20:00)
Recorded By - Ondine Fiore
D Milan Knižák* Bossanova Suite (19:30)
Performer [2 Record Players Playing Destroyed Music, 2 Taperecorders With Tapes Of Older Pieces], Synthesizer , Piano, Voice - Milan Knižák
E Takehisa Kosugi August 14, 1991 (32:00)
Tape [Pre-recorded Environmental Sounds (birds) In The City Of Ferrara, Italy], Noises [Live Broadcasting Sound On W-cbs Radio, New York], Performer [A Plastic Bottle In Which A Small Microphone Is Installed For Pick Up Voice & Other Sounds], Electronics [Audio Generator], Effects [Time-delay Machine, Pitch Shifter] - Takehisa Kosugi
F Joe Jones Solar Music Hot House (31:00)
G Wolf Vostell Le Cri Part 1 (30:00)
H Wolf Vostell Le Cri Part 2 (30:00)
I1 Al Hansen Car Bibbe (5:40)
I2 Al Hansen Balloni Brothers Balloon Work (9:30)
I3 Al Hansen Joseph Beauys Stuka Bomber Piece (10:10)
J1 Al Hansen The Futuristic Chattanooga Choo Choo In The Mongolian Desert (12:30)
Music By [Music Mix] - Jürgen Turje
Performer - Al Hansen , Janet Kramer
J2 Al Hansen I Opened The Top Button Of Her Jeans And Zipped Her Zipper Down (1:49)
J3 Al Hansen Intermedia L.A. Roadside Streetwise Poetry (3:52)
J4 Al Hansen Venus Rap (9:50)
K Paul Sharits The Existential Anguish Symphony (45:00)
Conductor - Chen Han
Performer - Paul Sharits
L1 Larry Miller Accord (Selections From The 2nd And 4th Movement) (22:30)
Other [Translator] - Josine van Droffelaar
Performer [Instrumentalist] - Alfred van den Heuvel , Louwrien Wijers , Lárus Grimsson , Michel Waisvisz
L2 Marcel Alocco Pour Fluxus (1960-1967-1968) (12:37)
L3 Albrecht/d. Two Lines -Excerpt- (9:00)
M1 Alison Knowles A Nivea Cream Piece For Oscar (Emmett) Williams (2:50)
Performer - Alison Knowles , Ingrid Dinter
M2 Robert Watts String Record Composition (5:45)
M3 Eric Andersen Untactics Of Music (4:30)
Brass - Hamonie Des Cascades
Conductor - Laurent Breton
Producer - Lucie Brosseau
M4 Carolee Schneemann Mother Lexicon (6:35)
Performer - Carolee Schneemann , Larry Miller , Laurence Warshaw , Mark Daniëls
M5 Jean Dupuy Elle Aimait Bien Les Frites, Marguerite (7:45)
Performer - Jana Haimsohn , Olga Adofno
M6 Ben Vautier Telephone Concerto (2:00)
N1 Ken Friedman Melon Medley (3:00)
N2 Richard Maxfield Pastoral Symphony (3:40)
N3 Dick Higgins In Memoriam (8:00)
N4 Dick Higgins Omnia Gallia (4:50)
N5 Mieko Shiomi A Celestial Tune By 108 Glass Marbles (5:45)
N6 Gustav Metzger On The "Festival Of Misfits" (5:45)
N7 Emmett Williams Meditation No. 1 (8:00)
Recorded By - Jürgen O. Olbrich
O Bob Lens Vacuum Cleaners (45:00)
P Bob Lens Alarm Clocks (45:00)
The tracks can be heard at Ubuweb, here.
Monday, July 30, 2012
Artist Chris Marker died yesterday at his home in Paris, on the day of his 91st birthday. Marker produced over 50 films, the best known being La Jetee, a black&white post-apocalyptic sci-fi film on time travel, told almost entirely in stills. The premise, of a man haunted by the memory of his own death, inspired Terry Gilliam's 1995 film 12 Monkeys. The film borrowed enough from Marker's 28-minute work that he was given a writing credit.
Marker rarely granted interviews and when asked for publicity photographs to accompany articles, the artist often submitted an image of a cat.
An obituary at the Telegraph can be read here.
"Workfortheeyetodo was a book-space organised by Simon Cutts, Maggie Smith and Erica Van Horn. It functioned as a bookshop for its selected material, as the prime and most vital means of distribution, and as a reference place for the activity surrounding the book as a medium. At the time this seemed to emanate from the visual arts, but it is closely related to other fields of art, music and literature. As such it provides a resource for use. Integral to this expanding practice, workfortheeyetodo also arranged displays and exhibitions together with readings, to examine and present other collections of material and antecedents, to publicise new books in the field, and to itemise new additions and donations for reference.
Workfortheeyetodo was begun by Coracle in 1992 and sustains itself on a near shoe-string budget for economy of purpose. From previous experience it would seem that bookshops of this nature can at best barely hope to cover costs, and certainly could not present display material needing research and careful accumulation. Its commercial functioning is perhaps only a model of distribution rather than a finite accomplishment.
The mythology of artist-run spaces is now part of the general sentimentality of our time for another. As alternative has become establishment, as underground has become fringe, this has often been the result of a lack of historical understanding in favour of mere media citation. With the arrival of the curator-property speculator we have entered a new phase, and when there is little consideration of immediate history, art activity is relegated to the blandness of football. A commodification of art as business and succes, no amount of faddish conceptualism can justify. On the one hand we have never been so surrounded by career anarchists, predicated on the radical-chic of Modernism, the poet-maudit. On the other, what can it mean to be an artist-run space when the Lisson Gallery is also one?" - Simon Cutts
An offshoot of this project was the Little Critic Pamphlet (whose name Art Metropole referenced in their Little Cockroach Press series. I remember Steven Leiber finding it impossible not to refer to TLCP as anything other than "little cricket press"), which produced around 20 pamphlets, many of them can be purchased at Boekie Woekie, here, for 7.50 Euros.
(see below post for Cutts' own issue of The Little Critic Pamphlet)
Labels: Little Critic Pamphlet
London, UK: Coracle Press/workfortheeyetodo, 
16 pp., 22 x 15.2 cm., staple-bound
The tenth Little Critic Pamphlet opens with a quote Stéphane Mallarmé from his 1895 essay Crise de Vers:
"The pure work implies the elocutory disappearance of the poet, who abandons the initiative to words mobilized by the shock of their inequality; they light one another up with mutual reflections like a virtual trail of fire upon precious stones, replacing the breathing perceptible in the old lyrical blast of the enthusiastic personal direction of the phrase."
followed by Cutts' text (a line per page):
The unit of the work cannot be the sentence
or the phrase
or the line
the linear syntax structure causes
to be systematic, sequential
the unit of the work is the
and lastly, a section called Notes, in which Cutts expands on the above:
"The work is its own continuous accumulative impression, varying and differing not only for each reader, but each time it is read. For this continuous structure to be effective, it must to be the antithesis of a sequential reading…to have read the work in sequence is only one of several possibilities, as the supposed sequence exists in a condition of simultaneity."
Sunday, July 29, 2012
Where Is That Word?
München, Germany: Edition S Press, 1975
Single sided audio cassette
Released by the German label Edition S Press (who also put out albums and cassettes by a wide variety of visual artists, sound artists, writers, etc., including Terry Fox, John Cage, Allen Ginsberg, Henri Chopin, John Giorno, Anne Waldman, Philip Corner, Jackson Maclow) the Brion Gysin Show "Where Is That Word?" is a 32:15 minute is a series of permutated poems originally recorded for broadcast by the BBC.
An excerpt called Pistol Poem can be heard on Artforum's website, here.
Saturday, July 28, 2012
Love of Life Orchestra
New York, USA: Lust/Unlust Music, 1980
The third and final recording by what was essentially a super-group of the downtown new music scene. Peter Gordon and avant-percussionist David Van Tiegham are the main players on this disk, with previous incarnations of the band including Laurie Anderson, Kathy Acker, Arthur Russell, Rhys Chatham and Blue Gene Tyranny.
Though credited to "Static Kling" the album cover is clearly designed by Lawrence Weiner, who is thanked in the liner notes.
Friday, July 27, 2012
The Holy Bible: Old Testament
London, UK: Hand/Eye Projects, 2002
1002 pp., 30 x 24 x 2.5cm, leather
Edition of 165
Hammon's first published bookwork is a kind of appropriation closed circuit, taking Duchamp's assisted readymade's to the their logical conclusion. Hammon's rebound the soft-cover edition of Arturo Schwarz’s 1969 book The Complete Works of Marcel Duchamp as a leather-bound, gilded edge bible with slip-case. The work is often read as a critique, mocking the exaltation of Duchamp in the contemporary art world, and could also function as an update of Rauschenberg's patricidal Erased de Kooning (note the use of the old testament). But Hammon's work has frequently nodded to Duchamp in the past (such as Fountain and Nude Descending a Staircase in the below 1990 Untitled photograph, and 1982's Bag Lady In Flight) and the piece could certainly also function as a genuine homage.