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FILLIP Issue No. 19 $15.00 €10.00 Spring 2014 FILLIP Issue No. 19 $15.00 €10.00 List of Illustrations F/B. Tony Urquhart, Opening Box, 21. Installation view from Young London, Black, 1968. Acrylic and wood. 50 × 20/20 Gallery, London, Ontario. Pictured: 28 × 25.5 cm. Installation detail from Bernice Vincent (left), Sheila Curnoe Heart of London, National Gallery of (standing), and Greg Curnoe (rear). Col- Canada, Ottawa, 1969. lection Don Vincent Photographic Ar- chives. Courtesy of Western University, 4. Steve Jobs at Tavern on the Green, London, Canada. New York, at the announcement of Microsoft’s Excel software program, 22. Film still from The Hart of London, May 1985. The software, introduced 1970. Directed by Jack Chambers. by Microsoft co-founder Bill Gates, was, at the time, endorsed by Jobs. 28/35. 100 Notes—100 Thoughts, Photo by Andy Freeberg. Courtesy of dOCUMENTA(13) notebooks (Hatje Getty Images. Cantz, 2011–12). Courtesy of Leftloft. 6. John Cage (left) with his friend and 41–51. Nicholas Gottlund, Non-Photo collaborator David Tudor, 1956—four Blue, 2013. Photograms. years prior to the premiere performance of 4′33″ by Tudor at Maverick Concert 84/88. Video stills from Lene Berg, Hall, Woodstock, New York. Courtesy of Stalin by Picasso or Portrait of Woman the New York Public Library. with Moustache, 2008. 14. Murray Favro, Clunk, 1967. Oil on 93–103. Sumi Ink Club, More Ideas and masonite. 117 × 216 cm. Installation Expressions, 2010. Sumi Ink on paper. detail from Heart of London, National Produced covllaboratively at Eugene Gallery of Canada, Ottawa, 1969. Choo, Vancouver, Canada. Fillip: Issue No. 19 Address Publisher: Jeff Khonsary 305 Cambie Street Editor: Kristina Lee Podesva Vancouver, BC Associate Editors: Antonia Hirsch, Canada V6B 2N4 Kate Steinmann, Amy Zion Founding Editor: Jordan Strom Copyeditor: Jaclyn Arndt Subscriptions Vancouver Office: Victoria Lum Design: The Future Canada and US: $30/year Pre-press: Colour & Books International: €30/year Interns: Liza Eurich, Dirk Wright Institutions: $50/year Printed in Belgium by Die Keure Edition: 1,500 Distribution Paper: 100 gsm Munken Print White, 80 gsm Colorado Grey, 90 gsm Hello Fillip is available at bookshops world- Gloss, 80 gsm Coloraction Savana wide and is distributed by Motto Distri- bution. Direct orders may be placed by Spring 2014 contacting [email protected]. ISBN: 978-1-927354-19-3 ISSN: 1715-3212 All content © 2014 the authors, artists, and editors. Unauthorized reproduction Board of Directors is strictly prohibited. All images are re- produced courtesy of the artist unless Jeff Derksen, Peter Gazendam, otherwise specified. Jonathan Middleton, Melanie O’Brian, Jordan Strom, Cheyanne Turions The views expressed in Fillip are not necessarily those of the editors or the publisher. Letters may be sent to the Advisory Board editors at [email protected]. Patrik Andersson, Sabine Bitter, Fillip gratefully acknowledges the Zoe Crosher, Maria Fusco, Silvia support of the Andy Warhol Foundation Kolbowski, Ken Lum, Larry Rinder, for the Visual Arts, the City of Vancou- Kitty Scott, Matthew Stadler, John ver, the Canada Council for the Arts, Welchman, William Wood and the British Columbia Arts Council. Contents In This Issue 4. Byron Peters and Jacob Wick Scripting Misperformance, Misperforming Scripts 14. Christopher Régimbal Institutions of Regionalism: Artist Collectivism in London, Ontario 28. Bettina Funcke with Andrew Stefan Weiner Intimate Cacophonies: An Exchange Regarding 100 Notes—100 Thoughts 41. Nicholas Gottlund Portfolio: Non-Photo Blue 77. Zarouhie Abdalian with Aaron Harbour and Jackie Im Having Been Held Under the Sway 84. Lene Berg with Jacob Wren Contradictions and Paradoxes 93. Sumi Ink Club Portfolio: More Ideas and Expressions 107. Matteo Pasquinelli The Labour of Abstraction: Seven Transitional Theses on Marxism and Accelerationism End Matter 116. Notes 121. Further Illustrations Bettina Funcke with or even quite unresolved." The project Andrew Stefan Weiner spatially and temporally, beyond one summer in Kassel and the other sites, such as Kabul, Cairo, Intimate Cacophonies An Exchange Regarding and workshops took place. The notebooks will 100 Notes—100 Thoughts be around forever; they’re dispersed all over the world in an uncontrollable way. This sort of dis- semination, which we might associate with books more generally and with language or even art to a certain degree, is at the conceptual core of the notebook project. I don’t exactly think of the notebooks as a collective artwork, but they were an integral part series - participant - and was listed as such in the catalogue. However, this documenta did emphasize the politics and practice of artistic research as a kind of ongoing convergence. Its physical manifestation was just – Let’s begin by clarifying one moment of this larger process, and in a way what sort of project was, was thus almost incidental, since the thinking and or is. Since these texts were published in conjunc- experimenting by all the contributors will con- tinue. These conversations around the artworks consider a kind of exhibition. Framing were as important as the works themselves, and the project in this way would ask us to think about they took on further relevance by de-emphasizing our culture’s obsession with art as material objects. recall earlier exhibitions that experimented with This discursive objective becomes clear when one dematerialization, virtuality, or textuality (e.g., looks at the extensive publication program and the Marcel Broodthaers’s - many other activation formats—all the workshops, - seminars, discussions, lectures, performances, and This was a deliberate decision to accentuate a the authors in the project were artists, we could more fragmentary kind of experience—this sense take things even further and ask whether of overwhelming multiplicity and simultaneity was in some sense a collective artwork. Would such a view broaden our sense of how the project worked or change our responses to it? realizing we can only be in one place at a time and just have to miss a lot. – The se- However, I do think we should hold on to the ries was published as a prelude to dOCUMENTA even if some of these choreographed encounters and thinking that led to the exhibition, which seem to blur those lines. A quantum physicist is a scientist and not an artist. Ecologists, historians, - in the when many of the projects, formats, artworks, do artists; they all work within the methodolo- and even overall concepts were still open-ended gies, materials, and histories of a given discipline. 28 29 Having said this, a lot of radical work comes from notebook,$ which considers hospitality as an we were able to adjust the overall balance of voices other. Art discourse has become ubiquitous, people with a curiosity for other disciplines, which artistic format and as a way to subtly undermine so as to accompany the exhibition. but I wonder how well it represents art’s various may also be a form of self-questioning. While art is publics. Art theory has its partisans, fans, and a uniquely productive space for the interrelation of – What you’re saying here leads me to merchandisers, but it also has its avowed enemies. knowledges that would never otherwise intersect, wonder how we might clarify the relationships be- Here in the US, this opposition has existed at this does not turn everything into art. Only about of Afghanistan’s history over the last century.% tween art and the discourse that surrounds it—not one-third of the contributors to And Jolyon Leslie, an architect who has lived in only aesthetic theory, but experimental literature, neoconservative critics like Hilton Kramer but were artists. Their notebooks usually speculative philosophy, leftist critique, and other at other times from liberals like Peter Schjeldahl referred to their works in the exhibition or were an modes that tend to circulate within the so-called or Roberta Smith. For some the problem with extension of them. In that case, I think you could outskirts of Kabul.& art world. The point isn’t that these relationships theory is its politics, while for others theory alleg- consider their notebooks artworks. But the series We also commissioned notebooks in prepara- should or even can somehow be summarized, but edly contaminates our experience of the work or overall—or the notebooks by philosophers, art tion for a workshop in Egypt. One was by Sarah rather that they often go unexamined. Even those perpetuates elitism. Some of these criticisms were historians, or other scholars and writers—these are Rifky,' who works in Cairo and mused on the of us who gladly participate in these discourses in fact voiced regarding the Kassel exhibition, and not art in that sense. can’t always say how they might be transforming I want to ask whether they also might apply to the writing takes away time from direct action. our engagement with art, or vice versa. project. What steps did you, Carolyn, – I’m glad you’ve related to the Sonallah Ibrahim and Nawal El Saadawi, two and Chus take to engage readers with varying lev- other aspects of documenta: the exhibitions and – These are questions close to both of els of education or expertise? To what extent were public programs in Kassel (which themselves engaged literature, contributed mind-blowing us, and they are not easy to answer. In fact, that you concerned about being perceived as didactic pieces that for me opened a new world of reading - or eclectic? Was it a problem that few readers seminars outside Europe. This extension raises and thinking about Egypt.( And Suely Rolnik and ent modes of experimentation and thinking have were likely to read all or even many of the note- Alexei Penzin, who were key participants in the found such interest in each other. I touched on books? Finally, did you consider distributing the between these formats and sites, particularly ones workshops in Egypt, also contributed theoretical this recently in a discussion with the Cairo-based notebooks free of charge or making them available that might have been unexpected.
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