“What was the identity between love and work,
or, the love found in working together?”
“Let’s draw focus on their passion: the love and work. The following is from Diana Souhami’s glorious book Gertrude and Alice:
‘“Our pleasure is to do every day the work of that day,’ wrote Gertrude, ‘to cut our hair and not want blue eyes and to be reasonable and obedient … Every day we get up and say we are awake today …’
… So we circle back to The Autobiography of Alice B.Toklas, which wasn’t of course an autobiography. What was it? […] Primarily, it was also an autobiography, but not of Alice. It was a biography: not one authored from outside, but from inside, albeit in another’s voice… I linger with this because while this is one of the most conventional prose-like works of Gertrude’s it is also properly strange. That is, Gertrude adopted Alice’s recognizable voice, exorcising as many Gertrudisms as she could identify, though not all, to write a memoir of her own life and times.”
-extracted from my text/talk COUPLING | Gertrude and Alice | July 2016.
Click through for links to Shumon’s piece and the Superhumanity project above and for the recording of the original event on G&E and Marina Abramovic and Ulay click my Readings_Talks button (where you can click on through to see/hear the other Couple Formats too).
[CLICK image for details]
Curated by Charles Arsène Henry and Shumon Basar
Featuring Douglas Coupland, Rana Dasgupta, Julien Gracq, Hu Fang, Jonathan Lethem, Tom McCarthy, Guy Mannes Abbott, Sophia Al Maria, Hisham Matar, Adania Shibli and Neal Stephenson
*NB [UPDATE] The accompanying book will be published February 10th, details here and below; Continue reading “on ‘translated by’, the details…”
15.01.2011 – 09.02.2011
Architectural Association Gallery
36 Bedford Square, London WC1B 3ES
Private view event on 14 January 6.30–8.30
Curators Charles Arsène-Henry and Shumon Basar
You’ve entered the room. It looks empty, silent. Vinyl text on the wall, like an album track-listing. Writers’ names instead of bands.
You’ve been given a black pamphlet and an electronic device connected to a pair of headphones.
You’ll put them on. Pick a number. Press play. You look for the same number on the walls. You find it. Next to it, an image. Beside there is a seat. You sit. On a beat up office chair dredged from a river. You listen. And you start travelling. You’re on Atlantic Avenue, between Nevins and Third. It’s Brooklyn. 1971.
The voice stops. You go for another track, another chair, a different place. Now on a little stool, you follow a six-year-old girl’s voice in your ears. You’re lost in the Sheraton Hotel. An Aztec spaceship in Doha’s desert.
It will last for 11 tracks. Through Tripoli, Brixton, Ramallah. Sofia, The Metaverse. Ardennes forest. A garden.
Until West Vancouver. Where the world is ending.
NB I have a text, a small excerpt from In Ramallah, Running 2010, in this show and publication in happy company… details to follow.
I’ll also update during January 2011 with news on the book itself as it progresses towards publication which is now scheduled for October 2011.