7 Newspaper Jan Mot In Brief 7 Newspaper Jan Mot 63, 64, 65, 66 In Brief 63, 64, 65, 66

September of that year inmates of the state sense of the physical presence of the writer,September of that year inmates of the state sense of the physical presence of the writer, prison at Attica, New York revolted and took and at the same time to unlock a hidden meprison- at Attica, New York revolted and took and at the same time to unlock a hidden me- control of a part of the institution. Foremost aning from the simple but ambiguous langucontrol- In of a partBrief of the institution. Foremost aning from the simple but ambiguous langu- In Brief among their demands was the recognition of age. The act of reading and rereading finallyamong their demands was the recognition of age. The act of reading and rereading finally their right “to be treated as human beings.” led me to the idea of a musical treatment. Thetheir rightThe Stedelijk “to be treated Museum as Amsterdamhuman beings.” purchased led me to the idea of a musical treatment. The The Stedelijk Museum Amsterdam purchased After several days of fruitless negotiations, text is as follows: After two several works: days Olivier of fruitless Silva. The negotiations, French Foreign text is as follows: two works: Olivier Silva. The French Foreign Governor Nelson Rockefeller ordered state “I think the combination of age and a greaterGovernor Legion Nelson (2000-2003) Rockefeller by Rineke ordered Dijkstra state and“I think the combination of age and a greater Legion (2000-2003) by Rineke Dijkstra and police to retake the prison by force, on the coming together is responsible for the speed7 Newspaperpolice Mario to retake JanGarcia theMot prisonTorres ’by Preliminary force, on theSketches coming togetherIn is Briefresponsible for the speed Mario Garcia Torres’ Preliminary63, 64, Sketches 65, 66 grounds that the lives of the guards whom of the passing time. It’s six months now, andgrounds from that the the Past lives and of for the the guards Future whom (Stedelijk of the passing time. It’s six months now, and from the Past and for the Future (Stedelijk the prisoners had taken as hostages were in I can tell you truthfully few periods in mythe prisonersMuseum) had which taken the as artisthostages produced were infor hisI can tell you truthfully few periods in my Museum) which the artist produced for his danger. In the ensuing violence forty-three life have passed so quickly. I am in exceldanger.- solo In show the ensuingin the museum violence in forty-three2007. life have passed so quickly. I am in excel- solo show in the museum in 2007. persons, including several of the hostages, lent physical and emotional health. There arepersons, including several of the hostages, lent physical and emotional health. There are were killed and many more wounded. One of doubtless subtle surprises ahead, but I September feelwere killedVan ofAbbemuseum and that many year moreinmates Eindhoven wounded. of the acquired Onestate of senseDadoubtless- of the subtlephysical surprises presence ahead, of the but writer, I feel Van Abbemuseum Eindhoven acquired Da- the dead was Sam Melville, a prisoner who secure and ready. As lovers will contrast prisontheirthe dead atvid Attica, wasLamelas SamNew DesertMelville,York revolted People a prisoner and(1974) took who (film and andsecure at the and same ready. time As to lovers unlock will a hiddencontrast me their- vid Lamelas Desert People (1974) (film and had played a significant role in organizing the emotions in times of crisis, so am I dealingcontrolhad played theof a original part a significant of thestory institution. roleboard in organizingdrawings) Foremost andthe aningDeiemotions- from thein timessimple of but crisis, ambiguous so am Ilangu dealing- Inthe original Brief story board drawings) and Dei- rebellion. with my environment. In the indifferent amongbrurebellion.- theirmantas demands Narkevicius was the’ filmrecognition Revisiting of Solarisage.with The my act environment. of reading and In therereading indifferent finally bru - mantas Narkevicius’ film Revisiting Solaris In the spring of 1971, Melville had written tality, the incessant noise, the experimentaltheirIn theright(2006). spring “to be of treated 1971, Melvilleas human had beings.” written ledtality, me to the the incessantidea of a musical noise, the treatment. experimental The The(2006). Stedelijk Museum Amsterdam purchased a letter to a friend describing his experience chemistry of food, the ravings of lost hysteAftera -letter several to a daysfriend of describing fruitless negotiations,his experience textchemistry is as follows: of food, the ravings of lost hyste- two works: Olivier Silva. The French Foreign of the passage of time in prison. After his rical men, I can act with clarity and meaning.Governorof thePMMK, passage Nelson the of Rockefeller Museum time in prison.for ordered Modern After state Art his in “I Os ricalthink- men, the combination I can act with of clarity age and and a meaning.greater LegionPMMK, (2000-2003) the Museum by Rineke for Modern Dijkstra Art inand Os - death the letter was published in the maga- I am deliberate, sometimes even calculating,policedeath to tend,the retake letter acquired the was prison thepublished film by force,Villes in the Saisieson maga the /- CapcomingI am- deliberate, together is sometimes responsible even for thecalculating, speed Mariotend, Garciaacquired Torres the film’ Preliminary Villes Saisies Sketches / Cap - zine, Ramparts. As I read it I was impressed seldom employing histrionics except as agrounds testzine, Ramparts.tures that Cities the livesAs which I read of theManon it I guards was de impressed whomBoer realised ofseldom the passing employing time. It’s histrionics six months except now, as and a test fromtures the Cities Past whichand for Manon the Future de Boer (Stedelijk realised both by the poetic quality of the text and by of the reactions of others. I read much, exertheboth -prisoners byin 2007the hadpoetic in takencollaboration quality as hostages of the with text were Nedjma and in by Hadj.I canof the tell reactions you truthfully of others. few I readperiods much, in myexer - Museum)in 2007 whichin collaboration the artist withproduced Nedjma for Hadj.his its cryptic irony. I read it over and over again. cise, talk to guards and inmates, feelingdanger. forits cryptic Other In the irony. works ensuing I read by violence it Manonover and forty-three de over Boer again. entered lifecise, have talk passed to guards so quickly. and inmates, I am infeeling excel for- soloOther show works in the bymuseum Manon in 2007. de Boer entered It seemed that I was trying both to capture a the inevitable direction of my life.” persons,It seemedthe including collection that I was several oftrying the of MUHKAboth the to hostages, capture in Antwerp: a lentthe physical inevitable and direction emotional of myhealth. life.” There are the collection of the MUHKA in Antwerp: were killedPresto. and many Perfect more Sound wounded. (2006), One Resonating of doubtless subtle surprises ahead, but I feel VanPresto. Abbemuseum Perfect SoundEindhoven (2006), acquired Resonating Da- the deadSurfaces was Sam (2005) Melville, and an a untitledprisoner photographic who secure and ready. As lovers will contrast their vidSurfaces Lamelas (2005)Desert and People an untitled (1974) photographic (film and had playedwork a significantfrom 2001. role in organizing the emotions in times of crisis, so am I dealing thework original from story 2001. board drawings) and Dei- rebellion. with my environment. In the indifferent bru- mantas Narkevicius’ film Revisiting Solaris Oral Culture starts off with In the springOralHeidi Balletof 1971, starts CultureMelville working had in thewritten gallery mid-tality,starts the incessant off noise, thewith experimental (2006).Heidi Ballet starts working in the gallery mid- a letter January.to a friend She describing was previously his experience an assistant chemistry for of food, the ravings of lost hyste- January. She was previously an assistant for of the passageVanhaerents of time Collection in prison. in BrusselsAfter his and rical the men, I can act with clarity and meaning. PMMK,Vanhaerents the Museum Collection for Modernin Brussels Art inand Os the- John Cage and Robert BarrydeathJohn theproduction letter was manager Cagepublished at Contourin the magaand in Mechelen- I am Robert deliberate, sometimes Barry even calculating, tend,production acquired manager the film at Villes Contour Saisies in Mechelen / Cap- zine, Ramparts.(BE). She As studied I read Sinologyit I was impressed at the University seldom employing histrionics except as a test tures(BE). Cities She whichstudied Manon Sinology de at Boer the Universityrealised From January 2008, the gallery runs a varying speech patterns. bothFrom by inthe January Leuven. poetic quality 2008,After three theof the galleryyears, text and Sofie runs by Matthys a ofvarying the reactions speech of patterns. others. I read much, exer- in in2007 Leuven. in collaboration After three withyears, Nedjma Sofie MatthysHadj. parallel program under the title ‘Oral The lecture in Brussels will be recited by itsWillparallel cryptic left irony. the program gallery I read underitfor over a new and the job over title as again. a ‘Oralstaff mem cise,The- talk lecture to guards in Brussels and inmates,will be recited feeling by for Will Otherleft the works gallery by for Manon a new dejob Boeras a staff entered mem - Culture’. The objective is to produce a life Holder according to the explicit instructionIt Culture’.seemed ber that of The the I wasobjective Hogeschool trying isboth to in produce Ghent.to capture a lifea theHolder inevitable according direction to ofthe my explicit life.” instruction theber collection of the Hogeschool of the MUHKA in Ghent. in Antwerp: performance once a month which is ‘oral- that music is being played as an accompaniperformance- once a month which is ‘oral- that music is being played as an accompani- Presto. Perfect Sound (2006), Resonating ly based’, in the presence of an audience. ment from an adjacent room. The music willly based’, in the presence of an audience. ment from an adjacent room. The music will Surfaces (2005) and an untitled photographic These events will take place in the gallery be from Manon de Boer’s film Attica, basedThese events will take(advertisement) place in the gallery be from Manon de Boer’s film Attica, based work from 2001. (advertisement) or any alternative venue if required by the on the composition of the sameNewspaper name Jan byMot Fre or- any alternative venue if required by the on the composition of the same name by Fre- Afgiftekantoor 1000 Brussel 1 artist. Older and existing works will be deric Rzewski. Verschijnt vijfmaal perartist. jaar Oralin Older and Culture existing works will bestarts deric Rzewski. off with Heidi Ballet starts workingV. U . Janin Motthe gallery mid- januari – maart – mei – Antoine Dansaertstraat 190 combined with new, commisioned works. Will Holder is an artist, editoraugustus and – oktober designercombined with new, commisioned works. Will Holder is an artist, editor and designer January. She was previously1000 Brussel an assistant for No. 60, januari 2008 The performances will be announced who once read that the oral tradition would Vanhaerents Collection in Brussels and the The performances will be announced who once read that the oralErkenningsnummer tradition would P309573 through the gallery’s newspaper, website lead us out of the post-modern condition, andthroughJohn the gallery’s Cage newspaper, and website Robertlead us out of the post-modern Barry condition, and production manager at Contour in Mechelen and e-mail newsletters. has since become preoccupied with “puand- e-mail newsletters. has since become preoccupied with “pu- (BE). She studied Sinology at the University The first event will be John Cage’s lecture on blishing”. More often than not, the publicaFromThe- first January event will 2008, 66be theJohn gallery Cage’s lecture runs aon varyingblishing”. speech More patterns. often than not, the publica- in Leuven. After66 three years, Sofie Matthys Indeterminacy. This lecture was originally tions do not always take the form of inkparallel andIndeterminacy programFebruary. This under29, lecture 20h the (to was titlebe originallyconfirmed) ‘Oral Thetions lecture do not in Brusselsalways take will thebe recited form of by ink Will and left theFebruary gallery for29, a 20h new (tojob be as confirmed)a staff mem- Culture’. The objective is63 to produce a life Holder– according 66 to the explicit instruction ber of the Hogeschool in Ghent. given in Brussels in 1958, exactly fifty years paper, and a large part of the preoccupationgiven is in Brussels in 1958, exactly fifty years paper, and a large part of the preoccupation is ago, during the World Expo. It was the result spent in finding suitable forms for transmisperformanceago,- during theonce World a month Expo. which It was is the ‘oral result- thatJaargangspent music in 12 findingis No. being 60 suitable played asforms an accompani for transmis- - of a suggestion by David Tudor to do a lecture sion. True to his typographical roots, hely ofbased’,is a suggestion inORAL the bypresence David CULTURE Tudor of an to audience. do a lecture mentsion. from True an to adjacent his typographical room. The music roots, will he is ORAL CULTURE with only stories. Each story, whatever it’s interested in scoring and compositionijk Museum as aThese setwithin Amsterdam events only stories. will and take Each place story, in the whatever galleryat the it’s Palais beinterested from des Manon Beaux-Arts in scoring de Boer’s and compositionfilm Atticaand, basedas ain setthe exhibition Double(advertisement) length, is told in one minute. In Cage’s words: of instructions for the articulationin the of exhibition languorlength, any- Doublealternative isROBE told Click in one venue minute.R if Trequired In BCage’sA inbyRR words: ijkthe Museum Y onof the instructions incomposition and in thefor of the the articulation same name ofijkby languFre Museum- - inROBE Amsterdam RT BARRY ‘My intention in putting the stories together age, and its relationship to a sculptural,at the Palais 3-diartist.‘My des-Arts- intention Older in Brus and in -putting existing the works stories willexhibition together be dericage, Rzewski. and its relationship to a sculptural,ClArts 3-di in- Brussels. In in an unplanned way was to suggest that all mensional space. combinedin an unplanned withIT new, wayIS, commisioned was I Tto suggest ISN’T works. that all Willmensional Holder space.is an artist, editor and designer IT IS, IT ISN’T things – stories, incidental sounds from the End of February It is, It isn’t by Robert BarryThethings performances – stories, incidental will be sounds announced from the whoEnd once of February read that It theis, Itoral isn’t tradition by Robert would Barry environment, and, by extension, beings – are will be performed by two actors. This work,throughenvironment, the gallery’s and, by extension, newspaper, beingsmethod, website – deare Boer leadwill explores us be out performed of the the relationship post-modern by two beactors. condition,- This work,and related, and that this complexity is more evi- part of a larger group of spokenThe word works,and Timerelated, e-mailSeptember and newsletters. that that thisof thatcomplexity year inmates istween more oflanguage, evi the- hasstatepart time since of anda becomelarger claims group preoccupiedto the of truth.spoken with word works, “puNotes- September ofon that year inmates of the state Thedent first when event it willis not be oversimplified John Cage’s lectureNarrated by an onidea history blishing”.has – beenby iconicMore shown figuresoften very than rarelyof theirnot, after the Barry publica crea- - prison at Attica,66 New York revolted and took dent when it is not oversimplified by an idea has been shown very rarely after Barry crea- prison at Attica, New York revolted and took of relationship in one person’s mind.’ ted it in the early seventies, around the sameIndeterminacyof relationshipcontrol. of Thisin a onepart lecture person’s of the was institution. mind.’ time originally such Foremost as tionsSylviated doit in Kristelnot the always early or Suely seventies, take Rolnikthe form around of inkthe andsame controlFebruary of a 29, part 20h of the(to institution.be confirmed) Foremost In 1965 Merce Cunningham used it as “mu- time as his famous Marcuse Piece andgivenis hisIn 1965 inLeftamong Brussels Merce their Cunninghamin demands1958, exactly was used fiftythe- allowsit recognitionas years “mu the - artistpaper, timeof to andintroduce as hisa large famous the part question ofMarcuse the preoccupation of Piece and ishis Coming among their demands was the recognition of sic” for his choreography How to Pass, Kick, first slide projections with simple verbalago,sic” during fortheir his the rightchoreography World “to Expo.be treated How It was toas memory,the Pass,human result Kick, beings.”belief spentfirst as inwell slide finding as projectionsto investigatesuitable forms with cor -for simple transmis verbal- their right “to be treated as human beings.” Fall and Run. The anecdotes were recited by statements. The exact date of the event ofwillFall a suggestion andAfter Run several .by The David anecdotes days Tudor of fruitless towere dorespondences arecited lecture negotiations, by sion. betweenstatements. True lived to Thehis time exacttypographical and history.date of theroots, event he willis AfterORAL several days CULTURE of fruitless negotiations, both Merce Cunningham himself and David be announced through e-mail andOn the with galboth -Manon only MerceGovernor stories. Cunningham Nelson Each story, Rockefeller himself whateverThe and orderedwork David it’s of interested statedebe Boer, announced with in scoring its particular through and composition e-mail take and asTogether the a set gal - Governor Nelson and Rockefeller ordered state Vaughan, while the dancers responded to the lery’s website. length,Vaughan, ispolice told while in to one retakethe minute. dancers the Inprison responded Cage’s onby words: theforce, to here the on andof thelery’s instructions now, website. represents for the an articulationopportu- of langu- policeROBE to retakeR theT prison BA byRR force,Y on the ‘My intention in putting the storiesnity together to get a betterage, and understanding its relationship not toonly a sculptural, of 3-di- dein anBoer’s unplanned way was to suggesta recentthat all past, mensional but of our space. present. No person AtticaIT IS, IT ISN’T things – stories, incidental sounds isfrom only the a witness. End of But February it is still It veryis, It isn’tdifficult by Robert Barry environment, and, by extension, beingsto evaluate – are thewill role be performedwe play in byour two time, actors. in This work, Upcomingrelated, and that this complexity is termsmore evi of- howpart collective of a larger belonging group of spoken comes word works,by SeptemberFrederic of that year inmates of the state dent when it is not oversimplified byabout, an idea or how has to beenunderstand shown thevery social rarely engi after- Barry crea- prison at Attica, New York revolted and took of relationship in one person’s mind.’neering that providested it in thepossibilities early seventies, for cultural around the same control of a part of the institution. Foremost ExhibitionsIn 1965 Merce Cunningham used itexperimentation. as “mu- time asActors, his famous musicians, Marcuse intel Piece- and hisRzewski among their demands was the recognition of sic” for his choreography How to Pass,lectuals, Kick, composers first slide - all projectionsthe personae with in her simple verbal their right “to be treated as human beings.” Fall and Run. The anecdotes were recitedfilms -represent by statements. those who The demand exact date a space of the eventBRUSSELS will After– JAN several 3 - In daysManon of de fruitless Boer’s negotiations, BRUSSELS both– JAN Merce 3 - The Cunningham most comprehen himself- andfor Davida language be that announced could give through expression e-mail to andnew the film gal - installation,Governor entitled Nelson Attica Rockefeller, music ordered state sive presentationVaughan, of Manon while thede Boer’sdancers work responded new to human the relations,lery’s website. as well as to new ideo- again plays anpolice important to retake role. the The prison work by is force, on the to date will open on February 8 at the Frank- logical and aesthetic principles. Her work based on the composition of the same title by furter Kunstverein. Eight large installations, evaluates the echoes of Modernity in our the American Frederic Rzewski which was including video projections and 16mm films, contemporary understanding of culture with written in 1971, as well as Coming Together, will represent de Boer’s work from 1996 till no traces of nostalgia. with which the film starts. The film tries to give 2007. Another part of the exhibition is an on- a visual and auditive echo of the political sub- going audio archive of interviews the artist The publication, The Time that is Left, will ject of Rzweski’s composition. On these works has been conducting with musicians, danc- include contributions by Elena Crippa, Rzweski wrote the following text: ers and composers about the 1970s; as well Lars Bang Larsen, Chus Martinez and Suely Coming Together was written in November as a display of images, text and scripts she Rolnik among others. and December of 1971 in response to a histor- uses as source materials. The show and a first ical event. In September of that year inmates monographical publication are produced in (advertisement) of the state prison at Attica, New York revolted collaboration with Witte de With, Centre for and took control of a part of the institution. Contemporary Art, Rotterdam. In Witte de Foremost among their demands was the rec- With, de Boer will present two works from ognition of their right “to be treated as human January 24 till February 24: Presto and Sylvia beings.” After several days of fruitless negoti- Kristel – Paris. A week prior to this another ations, Governor Nelson Rockefeller ordered show opens at Jan Mot with her new film in- state police to retake the prison by force, on stallation, Attica, which will also be included 63 the grounds that the lives of the guards whom in Frankfurt. Exhibition 18/1 – 1/3 the prisoners had taken as hostages were in The title of the Frankfurt exhibition, The Time Opening 17/1 18-21h danger. In the ensuing violence forty-three That Is Left, taken from a seminal essay by persons, including several of the hostages, the Italian thinker Giorgio Agamben, refers were killed and many more wounded. One of to the major subject of the presentation: the MANON the dead was Sam Melville, a prisoner who perception of time and the writing of history. had played a significant role in organizing the For de Boer, history is not a linear account DE BOER rebellion. of events but the experience of continuously In the spring of 1971, Melville had written a working through, selecting and linking mem- letter to a friend describing his experience of ories in a very specific way. To change history ATTICA the passage of time in prison. After his death is after all a question of changing our con- the letter was published in the magazine, ception of time, since the experience of time Jan Mot Ramparts. As I read it I was impressed both by is inherent to our conception of history and Rue Antoine Dansaertstraat 190 the poetic quality of the text and by its cryptic culture. Often using personal narration as a B-1000 Brussel Bruxelles irony. I read it over and over again. It seemed 2 Newspaper Jan Mot Coming Together 63 – 66

that I was trying both to capture a sense of Attica by Manon de Boer (advertisement) the physical presence of the writer, and at the Duration: 9 min. 55 sec. same time to unlock a hidden meaning from 16 mm film, black & white, mono sound the simple but ambiguous language. The act of reading and rereading finally led me to the Music: Coming Together (fragment) & Attica idea of a musical treatment. The text is as fol- (1972) composed by Frederic Rzewski lows: Musicians: Laurent Blondiau (trumpet), “I think the combination of age and a greater George van Dam (violin), Emmanuel Louis 65 coming together is responsible for the speed of (electric guitar), Jan Rzewski (voice, saxo- 29/2, 20h (to be confirmed) the passing time. It’s six months now, and I can phone) tell you truthfully few periods in my life have Camera: Sébastien Koeppel passed so quickly. I am in excellent physical Camera assistant: Virginie Gourmel ORAL CULTURE and emotional health. There are doubtless Technical assistant: Jérôme Milecan subtle surprises ahead, but I feel secure and Sound recording: Aline Blondiau ready. As lovers will contrast their emotions Final sound mixing: Aline Blondiau & Gilles ROBERT BARRY in times of crisis, so am I dealing with my Bénardeau (Alea Jacta Production) environment. In the indifferent brutality, the Title design: Stempel sprl IT IS, IT ISN’T incessant noise, the experimental chemistry of Editing: Stempel sprl food, the ravings of lost hysterical men, I can Labo: Color by Dejonghe Jan Mot act with clarity and meaning. I am deliberate, Development sound negative: Cineco, Am- Rue Antoine Dansaertstraat 190 sometimes even calculating, seldom employ- sterdam B-1000 Brussel Bruxelles ing histrionics except as a test of the reactions Production: Fine Arts Unternehmen video + of others. I read much, exercise, talk to guards film, Berlin (On the occasion of the first prize and inmates, feeling for the inevitable direc- of fair play 2007) uman beings.” After several days of fruitless tion of my life.” Co-production: Jan Mot, Brussels negotiations, Governor Nelson Rockefel- Attica was originally intended to follow Com- Thanks to: Frederic Rzewski, Lionel De- ler ordered state police to retake the prison ing Together after a short silence, so that the vlieger, Maarten Gielen, Luuk van Middelaar by force, on the grounds that the lives of two pieces together would form a pair of dark the guards whom the prisoners had taken as and light images of the same subject. In this (advertisement) hostages were in danger. In the ensuing vi- case it is a survivor of the event who speaks: olence forty-three persons, including several Richard X. Clark, who was freed on parole of the hostages, were killed and many more some weeks after the massacre. As the car tak- wounded. One of the dead was Sam Melville, ing him to Buffalo passed the Attica town line, a prisoner who had played a significant role the reporter sitting next to him asked him how in organizing the rebellion. it felt to leave Attica behind him. His answer, In the spring of 1971, Melville had written “Attica is in front of me,” became the text for 64 a letter to a friend describing his experience this piece. 25/1, 20h of the passage of time in prison. After his The compositional techniques employed in death the letter was published in the maga- both pieces are similar. The basic device for zine, Ramparts. As I read it I was impressed the generation of melodic and rhythmic se- ORAL CULTURE both by the poetic quality of the text and by quences is “squaring”: a form which I first its cryptic irony. I read it over and over again. used in 1968, in Les moutons de Panurge, for It seemed that I was trying both to capture a an indeterminate number of melody instru- JOHN CAGE sense of the physical presence of the writer, ments. In this technique, a sequence of notes, and at the same time to unlock a hidden me- measures, or phrases is gradually accumulat- INDETERMINACY aning from the simple but ambiguous langu- ed by adding elements one at a time, then di- age. The act of reading and rereading finally minished by subtraction. In Coming Together, Recited by Will Holder and accompa- led me to the idea of a musical treatment. The seven pitches are used to generate eight trian- nied by Manon de Boer’s Attica. text is as follows: gular structures of 28 notes. Each of these me- “I think the combination of age and a greater lodic sequences is then “squared” to become Jan Mot coming together is responsible for the speed eight large sections of 28 X 28 = 784 notes. Rue Antoine Dansaertstraat 190 of the passing time. It’s six months now, and The resulting chain of 6272 notes is played B-1000 Brussel Bruxelles I can tell you truthfully few periods in my by one or two instruments of the ensemble, life have passed so quickly. I am in excel- while the others add only individual notes or lent physical and emotional health. There are melodic fragments from time to time, accord- the recognition of their right “to be treated as doubtless subtle surprises ahead, but I feel ing to rules specific to each section. Only in human beings.” After several days of fruitless secure and ready. As lovers will contrast their the final section do all the players join in play- negotiations, Governor Nelson Rockefel- emotions in times of crisis, so am I dealing ing all of the notes. In Attica, a 28-beat melody ler ordered state police to retake the prison with my environment. In the indifferent bru- is divided into four bars of seven beats, each by force, on the grounds that the lives of tality, the incessant noise, the experimental of which is “squared” to become a period of the guards whom the prisoners had taken as chemistry of food, the ravings of lost hyste- 49 beats. The four periods are then themselves hostages were in danger. In the ensuing vi- rical men, I can act with clarity and meaning. “squared” to become a sequence of sixteen pe- olence forty-three persons, including several I am deliberate, sometimes even calculating, riods. These are played over a constant drone, of the hostages, were killed and many more seldom employing histrionics except as a test with a long dominant chord at the end. wounded. One of the dead was Sam Melville, of the reactions of others. I read much, exer- A MARRIAGE OF CONVENIENCE

As a fugitive after his defeat at Waterloo on June th , Napoleon returned to the These had been carried out by Marshall Villeroy under orders of Louis XIV during imperial palace in Laeken — named Schoonenberg at the time — in order to pick up the war which had opposed him to William of Orange of Nassau and reduced the his personal effects. He then continued his journey southwards, in a light, horse-drawn Grand’ Place to rubble. Leopold of Sax-Coburg-Gotha, named general of the Izmailovski service carriage, via the Roman roads Julius Caesar used when he conquered the Belgian Regiment by Catherine the Great, and who was to become the first King of the Belgians, , 2007 (detail) countries. If Schoonenberg was a magnificent place with a view on the Senne Valley, it remembered the expansion of Napoleon manifested during the occupation of the Duchy was also a strategic spot, as proven by the excavations which revealed the traces of a Roman of Sax-Coburg-Saalfeld in . At the time, Leopold had managed to refuse joining the L’ H i s t o i re B e l g e encampment at the beginning of the Christian era. He did not lack a historical conscience, Napoleonic army without offending the French eagle. As a precaution, on August th so, after imperial farewells to his illustrious predecessor at the palace, Napoleon held , he wed, in a second marriage, Marie-Louise of Orleans, daughter of Louis-Philippe,

halt at Molenbeek-Saint-Jean, in memory of the bombings of august  on Brussels. King of France. Augustijnen, Sven

Left: a three franc piece of the Napoleonic era, obverse, , and denier of the Roman Republic (P. Sepullius Macer, minter),   89, Museum of the National Bank of Belgium, Brussels. Right: coins of the Belgian Kingdom,  francs, obverse, , and  cents, obverse, , Museum of the National Bank of Belgium. THE ROYAL CRYPTS

When Leopold I, the first King of the Belgians, died on December th , his wish chapel in order to slide the coffin into the royal crypt. After this, a neo-Gothic portal was to be interred in St George of Windsor’s Chapel in London, alongside his first wife built at this spot. However, when in  the remains of Leopold I had to be displaced Princess Charlotte Augusta was in no way respected. And when it was decided to bury from the old church to the new one in Laeken, it was discovered that the architecture of the King in the old church of Our Lady of Laeken, he was refused entry to the chapel the new royal crypt, of which the plans had been drawn up well before the sovereign’s by the Catholic clergy, during the celebration of December th , on the basis of his passing, did not allow for the clergy’s refusal — to allow the mortal remains of Leopold I protestant beliefs and his adherence to Free Masonry. In order to get out of this impasse, to pass through the church — to be respected. On the th of April, an entrance at the it was decided that an opening would be made in the supporting wall of Saint Barbara’s back of the crypt was therefore hurriedly built to allow the King to enter.

Left: Saint Barbara’s Chapel of the cemetery of Laeken with its neo-Gothic portal, . Right: entrance to the royal crypt of our Lady of Laeken by the architect Joseph Poelaert, . THE ROYAL CRYPTS

When Leopold I, the first King of the Belgians, died on December th , his wish chapel in order to slide the coffin into the royal crypt. After this, a neo-Gothic portal was to be interred in St George of Windsor’s Chapel in London, alongside his first wife built at this spot. However, when in  the remains of Leopold I had to be displaced Princess Charlotte Augusta was in no way respected. And when it was decided to bury from the old church to the new one in Laeken, it was discovered that the architecture of the King in the old church of Our Lady of Laeken, he was refused entry to the chapel the new royal crypt, of which the plans had been drawn up well before the sovereign’s , 2007 (detail) by the Catholic clergy, during the celebration of December th , on the basis of his passing, did not allow for the clergy’s refusal — to allow the mortal remains of Leopold I protestant beliefs and his adherence to Free Masonry. In order to get out of this impasse, to pass through the church — to be respected. On the th of April, an entrance at the L’ H i s t o i re B e l g e it was decided that an opening would be made in the supporting wall of Saint Barbara’s back of the crypt was therefore hurriedly built to allow the King to enter.

Left: Saint Barbara’s Chapel of the cemetery of Laeken with its neo-Gothic portal, . Right: entrance to the royal crypt of our Lady of Laeken by the architect Joseph Poelaert, . Sven Augustijnen, Sven A MARRIAGE OF CONVENIENCE

As a fugitive after his defeat at Waterloo on June th , Napoleon returned to the These had been carried out by Marshall Villeroy under orders of Louis XIV during imperial palace in Laeken — named Schoonenberg at the time — in order to pick up the war which had opposed him to William of Orange of Nassau and reduced the his personal effects. He then continued his journey southwards, in a light, horse-drawn Grand’ Place to rubble. Leopold of Sax-Coburg-Gotha, named general of the Izmailovski service carriage, via the Roman roads Julius Caesar used when he conquered the Belgian Regiment by Catherine the Great, and who was to become the first King of the Belgians, countries. If Schoonenberg was a magnificent place with a view on the Senne Valley, it remembered the expansion of Napoleon manifested during the occupation of the Duchy was also a strategic spot, as proven by the excavations which revealed the traces of a Roman of Sax-Coburg-Saalfeld in . At the time, Leopold had managed to refuse joining the encampment at the beginning of the Christian era. He did not lack a historical conscience, Napoleonic army without offending the French eagle. As a precaution, on August th so, after imperial farewells to his illustrious predecessor at the palace, Napoleon held , he wed, in a second marriage, Marie-Louise of Orleans, daughter of Louis-Philippe, halt at Molenbeek-Saint-Jean, in memory of the bombings of august  on Brussels. King of France.

Left: a three franc piece of the Napoleonic era, obverse, , and denier of the Roman Republic (P. Sepullius Macer, minter),   89, Museum of the National Bank of Belgium, Brussels. Right: coins of the Belgian Kingdom,  francs, obverse, , and  cents, obverse, , Museum of the National Bank of Belgium. 7 Newspaper Jan Mot Oral Culture 63 – 66

instructions for the articulation of language, Oral Culture and its relationship to a sculptural, 3-dimen- In Brief sional space. End of February It is, It isn’t by Robert Barry For this issue of the gallery’s newspaper, Sven starts off with will be performed by two actors. This work, Augustijnen made a special contribution part of a small group of spoken word works, based on his work L’ H i s t o i re B e l g e (2007) has been shown very rarely after Barry cre- which was shown in the gallery at the end of John Cage ated it in the early seventies, around the same last year. The work consist of 10 panels, each time as his famous Marcuse Piece and his relating a famous or lesser known aspect of first slide projections with simple verbal the history of Belgium in a misleadingly sub- and Robert statements. The exact date of the event will dued tone, typical for the artist. Two of them be announced through e-mail and the gal- are reprinted here. lery’s website. Barry The Stedelijk Museum Amsterdam purchased two works: Olivier Silva. The French Foreign From January 2008, the gallery runs a Rockefeller ordered state police to retake the Legion (2000-2003) by Rineke Dijkstra and parallel program under the title ‘Oral prison by force, on the grounds that the lives Mario Garcia Torres’ Preliminary Sketches Culture’. The objective is to produce a life of the guards whom the prisoners had taken from the Past and for the Future (Stedelijk performance once a month which is ‘oral- as hostages were in danger. In the ensuing vi- Museum) which the artist produced for his ly based’, in the presence of an audience. olence forty-three persons, including several solo show in the museum in 2007. These events will take place in the gallery of the hostages, were killed and many more or any alternative venue if required by the wounded. One of the dead was Sam Melville, Van Abbemuseum Eindhoven acquired Dav- artist. Older and existing works will be a prisoner who had played a significant role id Lamelas’ Desert People (1974) (film and combined with new, commisioned works. in organizing the rebellion. the original story board drawings) and Dei- The performances will be announced In the spring of 1971, Melville had written mantas Narkevicius’ film Revisiting Solaris through the gallery’s newspaper, website a letter to a friend describing his experience (2006). and e-mail newsletters. The first event will be John Cage’s lecture on (advertisement) PMMK, the Museum for Modern Art in Os- Indeterminacy. This lecture was originally tend, acquired the film Villes Saisies / Cap- given in Brussels in 1958, exactly fifty years tures Cities which Manon de Boer realised ago, during the World Expo. It was the result in 2007 in collaboration with Nedjma Hadj. of a suggestion by David Tudor to do a lec- ture with only stories. Each story, whatever Heidi Ballet starts working in the gallery mid- it’s length, is told in one minute. In Cage’s January. She was previously an assistant for words: ‘My intention in putting the stories 66 Vanhaerents Collection in Brussels and the together in an unplanned way was to suggest Exhibition 8/3-12/4 production manager at Contour in Mechelen that all things – stories, incidental sounds Opening 8/3 16-19h (BE). She studied Sinology at the University from the environment, and, by extension, be- in Leuven. After three years, Sofie Matthys ings – are related, and that this complexity is left the gallery for a new job as a staff mem- more evident when it is not oversimplified by TIME PIECES ber of the Hogeschool in Ghent. an idea of relationship in one person’s mind.’ In 1965 Merce Cunningham used it as “mu- PIERRE BISMUTH, sic” for his choreography How to Pass, Kick, In the ensuing violence forty-three persons, Fall and Run. The anecdotes were recited by MARIO GARCIA including several of the hostages, were killed both Merce Cunningham himself and David and many more wounded. One of the dead Vaughan, while the dancers responded to the TORRES, was Sam Melville, a prisoner who had played varying speech patterns. a significant role in organizing the rebellion. The lecture in Brussels will be recited by Will DOMINIQUE In the spring of 1971, Melville had written Holder according to the explicit instruction a letter to a friend describing his experience that music is being played as an accompani- GONZALEZ- of the passage of time in prison. After his ment from an adjacent room. The music will death the letter was published in the maga- be from Manon de Boer’s film Attica, based FOERSTER, zine, Ramparts. As I read it I was impressed on the composition of the same name by Fre- both by the poetic quality of the text and by deric Rzewski. DAVID LAMELAS, its cryptic irony. I read it over and over again. Will Holder is an artist, editor and designer It seemed that I was trying both to capture a who once read that the oral tradition would JONATHAN Rockefeller ordered state police to retake the lead us out of the post-modern condition, and prison by force, on the grounds that the lives has since become preoccupied with “publish- MONK, of the guards whom the prisoners had taken ing”. More often than not, the publications as hostages were in dats. As I read it I was do not always take the form of ink and paper, IAN WILSON impressed both by the poetic quality of the and a large part of the preoccupation is spent text and by its cryptic irony. I read it over and in finding suitable forms for transmission. Jan Mot over again. It seemed that I was trying both to True to his typographical roots, he is inter- Rue Antoine Dansaertstraat 190 capture a Rockefeller ordered state police to ested in scoring and composition as a set of B-1000 Brussel Bruxelles retake the prison by force, on the grounds that 8 Newspaper Jan Mot Agenda 63 – 66

Agenda

Sven Augustijnen a Stage, Tate Modern, London, 24/10 – 6/1; September of that year inmates of the state Maison Grégoire, Brussels, 10/11 – 31/01; A Time Pieces, Jan Mot, Brussels, 8/3 – 12/4 prison at Attica, New York revolted and took Portrait of the Artist as a Researcher, Beurs- control of a part of the institution. Foremost schouwburg, Brussels, 5/3 – 14/3 Joachim Koester among their demands was the recognition of Le Jardin de Cyrus, Galerie Edouard Manet their right “to be treated as human beings.” Pierre Bismuth – Ecole Municipale des Beaux-Arts, Gen- After several days of fruitless negotiations, Time Pieces, Jan Mot, Brussels, 8/3 – 12/4; nevilliers (F), 22/11 – 19/1; Mask, James Governor Nelson Rockefeller ordered state Locked-in. The Image of Humanity in the Age Cohan Gallery, New York, 13/12 – 26/1 (with police to retake the prison by force, on the of Intrusion, Casino Luxembourg, Luxem- Matthew Buckingham); Joachim Koester, grounds that the lives of the guards whom burg, 19/4 – 29/6; Collateral, SESC Avenida Galleri Nicolai Wallner, 25/1 – 29/3 (solo); the prisoners had taken as hostages were in Paulista, São Paulo, from 30/1 Estratos, PAC Murcia, Murcia (ES), 31/1 danger. In the ensuing violence forty-three – 31/3; Ghost in the Machine, Kunstnernes persons, including several of the hostages, Manon de Boer Hus, Oslo, 8/2 – 16/3 were killed and many more wounded. One of International and National Projects, PS1, the dead was Sam Melville, a prisoner who New York, 21/10 – 7/1; Artefactfestival. Cap- David Lamelas had played a significant role in organizing the turing Time – Mapping the Moment, STUK A Theatre Without Theatre, Museu Berardi, rebellion. Kunstencentrum, Leuven 12/12 – 17/2; Atti- Lisboa, 01/11 – 20/01; The Living Currency, In the spring of 1971, Melville had written a ca, Jan Mot, Brussels, 18/1 – 1/3 (solo); Res- Tate Modern, London, 26 and 27/1; Other letter to a friend describing his experience of onating Surfaces, University of California, than Yourself – An Investigation Between In- the passage of time in prison. After his death Santa Cruz, 23/1; Manon de Boer, Witte de ner and Outer Space, T-B A21, Vienna, 7/2 the letter was published in the magazine, With, Rotterdam 24/1 – 24/2 (solo); Manon – 21/9; Time Pieces, Jan Mot, Brussels, 8/3 Ramparts. As I read it I was impressed both de Boer: The Time That is Left, Frankfurter – 12/4 by the poetic quality of the tter several days Kunstverein, Frankfurt, 8/2 – 27/4 (solo); of fruitless negotiations, Governor Nelson Scene Missing, Georg Kargl Fine Arts, Vi- Deimantas Narkevicius Rockefeller ordered state police to retake the enna, from 17/01 Du Machinique et du Vivant, La Réserve, prison by force, on the grounds that the lives Pacy sur Eure, 7/10 – 12/1; MACBA at of the guards whom the prisoners had taken Rineke Dijkstra Frankfurter Kunstverein, A Selection of as hostages were in danger. In the ensuing vi- Getroffen. Otto Dix und die Kunst des Por- Works from the Museu d’Art Contempo- olence forty-three persons, including several traits, Kunstmuseum, Stuttgart, 1/12 – 6/4; rani de Barcelona, Frankfurter Kunstverein, of the hostages, were killed and many more Girls on the Verge: Portraits of Adolescence, Frankfurt, 9/10 – 13/1; Fusion/Confusion, The Art Institute of Chicago, 8/12 – 24/2; Museum Folkwang, Essen, 11/1 – 29/3; Art Dateline Israel: New Photography and Video Sheffield 08. Yes No Other Options, Sheffield, Opening sponsored by Art, The Jewish Museum, Berlin, 14/12 – 16/2 – 30/3 Vedett / Duvel Moortgat NV SA 24/2; Eyes Wide Open. Acquisitions Stedelijk Bionade Museum & The Monique Zaijfen Collection, Tino Sehgal Stedelijk Museum CS, Amsterdam, 19/1 The World as a Stage, Tate Modern, London, Colophon – 1/6; Presumed Innocent: Photographs of 24/10 – 6/1; Tino Sehgal, Medtronic Gallery, Publisher Jan Mot, Brussels Children, Decordeva Museum and Sculpture Walker Art Center, Minneapolis, 7/12 – 23/3 Concept Design Maureen Mooren Park, Lincoln, Massachusetts, 2/2 – 27/4; (solo); Tino Sehgal, CCA Wattis Institute, & Daniel van der Velden, Amsterdam Me, Ophelia, Van Goghmuseum, Amster- San Francisco, ongoing. Graphic Design Maureen Mooren, dam, 15/2 – 18/5 Amsterdam Ian Wilson Printing Cultura, Wetteren Mario Garcia Torres A Theatre Without Theatre, Museu Berardi, In the Stream of Life, Bétonsalon, Paris, 17/11 Lisboa, 01/11 – 20/01; In the Stream of Life, (advertisement) – 3/2; Sora Gallery, Tokyo, 18/1 – 8/3 (solo); Bétonsalon, Paris, 17/11 – 3/2; Time Pieces, I am your private dancer, Cultuurcentrum Jan Mot, Brussels, 8/3 – 12/4 Strombeek-Bever (BE), 4/1 – 3/2; Other than JAN MOT Yourself – An Investigation Between Inner and Other artists represented by the gallery: Outer Space, T-B A21, Vienna, 7/2 – 21/9; De- Douglas Gordon, Sharon Lockhart tras del Telon, MALBA, Buenos Aires, 28/2 Rue Antoine Dansaertstraat 190 – 21/4; Mario Garcia Torres, White Cube, B-1000 Brussel Bruxelles Hoxton Square, London, 29/2 – 29/3 (solo); September of that year inmates of the state tel: +32 2 514 10 10 Martian Museum of Terrestrial Art, Barbican prison at Attica, New York revolted and took fax: +32 2 514 14 46 Center, London, 6/3 – 18/5; Time Pieces, Jan control of a part of the institution. Foremost offi[email protected] Mot, Brussels, 8/3 – 12/4 among their demands was the recognition of www.janmot.com their right “to be treated as human beings.” Dominique Gonzalez-Foerster After several days of fruitless negotiations, donderdag-vrijdag-zaterdag 14 – 18.30u Everstill / Siempretodavía, La Huerta de San Governor Nelson Rockefeller ordered state jeudi-vendredi-samedi 14 – 18.30h Vicente, Granada, 24/11 – May; The World As police to retake the prison by force, on the en op afspraak / et sur rendez-vous