Trying to locate the original manuscript of my novel of 78 fragments, I came across a lot of things. One of them was this; a nicely calibrated collaboration with my dear friend Simon English for Grant Watson’s Victoria which must have been hand-produced in 1998? Unbound, A3, in editions of 200 it seems, a warm and civil experience all around, and in happy company.
D is Guy Mannes-Abbott, Double and Twist is Simon English (Ph GMA)
D or ‘d’ actually, was a very early e.things text from autumn 1997. The circle of what were the first hundred Continue reading “note_19 D is for danger; live your danger, live dangerous. Victoria Vol. 3”
“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).
In Ramallah, Running due Feb. 28th 2012
Gertrude Stein didn’t think much of commas, you remember? I think a lot of Gertrude’s work and Gertrude herself, as Fruit Store regulars will know, but disagree with her about the comma.
Commas break-up, complicate, deepen, add dimension to statements and any prose that takes ‘sense’ for granted. They elucidate, make-difficult, render actual complexity. The comma in In Ramallah, Running does these and many other things for me…
Above is a graphic rendering of a tiny part of the cover-image of the book [actual cover image coming soon], in which the sticking-out comma sticks out!
Commas are inconvenient, never quite fit, force you to notice that which you might not, condense and disrupt [presumed, heh Adania?] sense, etc. They are abyss and peak, add crucial [a]rhythms and make for the elliptical.
Writing without these things is almost literally nothing…
Would he like it if I told him Gertrude Stein 1923
Beinecke Rare Book and Manuscript Library
For me this is where Gertrude’s wording, word-images, word-drawing of things, objects [Tender Buttons] and then people [Portraits and Prayers] really began to work. Really explodes. I love all of it of course, but this sounds like/conjures its object to me. It’s object is Picasso and this is the notebook manuscript of that gorgeous portrait of him that made its author so excited.
The Bienecke Rare Book and Manuscript collection of Gertrude and Alice’s is stunning. Sometimes I want to go and live there, burn my passport, unscrew the door handles, sit, read, be –eventually write. Meanwhile, Continue reading “on gertrude [one], if i told him would he like it”
Rage Against the Machine’s “Killing…” made sense, mainly because it was such a great track back in the mid-90s, right? Cage Against the Machine, the attempt to block/buy the No. 1 slot for a recording of John Cage’s 4’33” -a rigorously orchestrated slice of atmospheric sound, often described as silence- was always a bit too clever and so a bit too dumb to work, no?
Kenneth Silverman’s recent biography of Cage, Begin Again, is a pretty straight celebratory record of an entirely remarkable life [and not published in the UK!]. Cage spans [subverts?] or strides [meanders?] the 20th Century in very particular ways, making work from beginning to end nearly and constantly mining the same seam of inventive attempts.
Always beginning again, afresh, anew -so the thesis runs. KS makes an epigram of Gertrude Stein’s gorgeous line from The Making of Americans; “Beginning was all of living with him, in a beginning he was always as big in his feeling as all the world around him.” The way in which this actualises is exemplary even while it creates doubt in me too -as the book goes on dutifully detailing yet another I Ching derived whatever!
4’33” was achieved using a deck of tarot cards, which even Cage said “seems idiotic” but he composed each movement by joining up randomised periods of silence with precise measures which totalled four minutes and thirty three seconds. The point, one made more precise by his subsequent visit of Ryoanji and fuller acquaintance with Zen, was that the ‘silence’ is a pregnant one, like the stone garden’s potent ‘blankness’.
Two thoughts; one links directly to the gorgeous version of Feist’s song, There’s a Limit to Your Love, that James Blake put out a month ago. As you know, the track is a departure from his flurry of promising EPs released this year alone, including CMYK and Klavierwerke, for foregrounding his voice against a piano track redolent of Nina Simone and an electronic bassquake. Apart from just enjoying it and its arguably rather more local newness I was struck by the ‘silence’ it contains. Or near silence, Continue reading “on silence or not, cage blake alÿs and on…”
John Cage Ryoanji 17 February 1988 -pencil on Japanese handmade paper (ph Guy Mannes-Abbott)
Every Day is a Good Day [just say it, try… ]
This complete show of John Cage’s paintings and drawings is one that you need to go see, be with in real time and place. It’s not only that it doesn’t reproduce well [despite there being a very good catalogue with excellent reproductions newly photographed in it here or here] or that I’ve badly scanned one of my favourite delicate drawings done -in place of meditation- with more than one pencil around stones that were special to Cage [the allusion is to the famous dry stone garden at Ryoan-ji, Kyoto] but that until you’ve journeyed to stand before them, share their space you haven’t actually seen them.
I loved this exhibition of works for their affective simplicity -openness, lack of guile- and transforming leap from the disciplined procedures that generated them to their qualities as visual art. Continue reading “on being uncagey about john, uk tour of cage exhibition into 2011”
S=U=P=E=R=S=T=R=U=C=T=U=R=E Cerith Wyn Evans 2010
“Everyone’s gone to the movies,
now we’re alone at last…”
I finally made it back to see Cerith’s show at White Cube’s Mason’s Yard which is, I want to emphasise, just off Piccadilly in central London. The show closes on May 22 and I urge you to drop by to catch a stunning and substantial installation of recent works which makes the space live so well that it claims possession of it.
My hopes were high for this show but I had to rush through an opening that was as busy as you might expect to be somewhere else. As a result I didn’t quite trust my impression that CWE had drawn all the currents in his work together into something quite so winningly complete. That is -at its most elemental- influence and intellect, taste and fancy all deliver something complex here that is coherent only as visual art. It’s clarified resonance would justify permanent -or DIA-style- installation in the site.
A peculiarly all over the place month made returning impossible, but the work lingered and I had to see it again especially if I were to scribble something here…
Continue reading “cerith wyn evans’ final week at white cube central london; go, go, go!”