Spring 2014 FILLIP Issue No. 19 $15.00 €10.00

List of Illustrations

F/B. , 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 (rear). Col- , 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 (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. , 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

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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. I’m also curi- ) online to enable a more public discussion? ous as to how we might conceive these relations One location that doesn’t appear directly in philosophy is the love of wisdom, while art is the more abstractly. Does it make sense to think of the love of the thing. I would add then that we don’t – The series is not at all meant project as possessing something like a and research centre in the Canadian Rockies that want dumb things, but complex, mysterious, and as some sort of theory reader—it amounts more to quasi-autonomy? How, if at all, do you think the served as a retreat for some of the central think- wise things. When dealing with philosophy or radi- an anti-curriculum. It is, as you mention, highly cal literature, we are quite aware of these matters eclectic, but while it does include some theoretical the exhibition or of actual artworks? being abstract—we are aware of their remoteness, contributions, these don’t dominate. Overall the which can feel necessary or comforting but can also series is meant to feel idiosyncratic and to bring – You’re right. The notebooks possess a were evolving with respect to their public recep- be perceived as a kind of lack. The attraction here together a broad range of ideas that are loosely quasi-autonomy—they augment or modify the may lie in this tension between immateriality and held together by what appeared particularly ur- exhibition, while they could also exist on their Christov-Bakargiev and Chus Martinez, some of materiality, or withdrawal and exposure. gent for our times. The notebook format is in this own. As a whole, the notebook project feels open- the notebook authors took part, like Franco Be- As I said earlier, the art world provides a sense a common starting point from which partici- ended, idiosyncratic, and at times disparate while rardi, Bruno Bosteels, and Claire Pentecost. - pants can then share the process of documenting also being committed—much like dOCUMENTA - ent knowledges that would otherwise not meet. an evolving thought, taking record of a particular itself. - The nature of art itself seems to have changed over moment. Of course, one does not have to read In contrast, the notebooks’ connections to the last decades, during which it shifted its focus them all. The process of selecting a few that reso- other sites, such as Kabul or Alexandria/Cairo, advantage of the publication series was that its from the object to a larger set of discussions, thus nate with one’s own interests is an important part entire content became part of the main catalogue, creating a stage for a broader public that seems to notebooks relating to Afghanistan that mobilize which in turn has entered countless universities, be quite willing to participate in such conversa- The debate about the elitism of the art world an impressive amount of knowledge about the museums, and public libraries. Over the three tions. It remains a puzzle, though, how contem- sometimes seems endless, and it’s rare to see such country and the region, working against its typical years during which we prepared the notebooks— porary art could have become as popular as it has representations in the media. Some of these refer such publications usually take only half this much today, given its reorientation toward radical, dis- provided all kinds of entry points, so many that time—we were able to generate exceptionally cursive, and highly specialized kinds of research. it overwhelmed on many levels; there were too account of Alighiero Boetti’s , substantial, broad, and thoughtful material. By many books, too many sites, too many artworks, # commissioning the notebooks continuously, as the – Yes, I think these various changes are too many things to miss, too much to read, too far response to that notebook in the form of another initial ones were being read and commented on, sometimes linked and sometimes contradict each to walk. But this doesn’t mean it was elitist. You

30 31 could walk in Kassel’s Auepark, hang out at the and how did you respond to them? And are there and activism, democratization, and global move- sphere itself. Perhaps this is a reach, but “intimate Doing Nothing garden, pick up some Western Sa- ways in which the institutionalization of this sort of project might blunt its critical edge or generate the new technologies that determine so much of playground. . . .* At the same time, it made room new problems?"" has evolved tremendously, producing faster and our situation, in ways that might often leave us for all kinds of specialized discussions. It’s the more global ways to connect and exchange ideas; highly ambivalent. The same social networks that same with the notebooks, where readers are free we have also come to know new forms of political enable friendships or solidarities can also feel like particular historical consciousness. documenta control and injustice, with a looming ecological ca- a grotesque echo chamber, in which we are all photo essays, artists’ notes and drawings, conver- tastrophe and religious fundamentalism on the rise. solicited to constantly stream our personal lives for sations, poems, and even instructions on how to contemporary art exhibitions, mainly because The notebooks are meant to respond to these exit capitalist society (concerning everything from it did not emerge from the nineteenth-century changes with a sense of urgency, in a way that of “narrowcasting”—the way in which ever more compost toilets, wind turbines, and pottery work- World’s Fairs or the trade fairs of the colonial is both direct and fragmentary. They form an personalized channels of information leave us with "+ period. Instead, it arose after World War II, out intimate cacophony, speaking in a multitude of less in common to talk about. Could you explain We did originally want to make all the note- of widespread trauma and in a cultural vacuum or voices, but with a sense of also being one on one, how our contemporary media ecology might books available online for free, but Hatje Cantz, even wasteland. In Carolyn Christov-Bakargiev’s as artist/author and reader. A similar polarity inform the rhetoric of the notebooks? This relation the publisher, would not agree to this, for budget words: exists on the level of their form, which combines could have to do with voice or tone, but also with reasons—it was a long discussion, and the invest- modest design and poor materials (in the tradi- the sensuous qualities you just alluded to and the ment required to get one hundred small books type of encounter with the reader that these might high-calibre contributors, careful editing, and very enable. failures of the project that this didn’t happen. But I - beautiful printing. This approach distinguishes do hope that the notebooks will be passed around ism."# From the outset, the language of documenta the series from the previous documenta books and – I have several things to say about the and that they will eventually circulate online. was thus one that spoke with multiple objectives many other like-minded publications, which usu- ally don’t pay that much attention to the material these books. We are not simply a product of our – We’ve not yet spoken of the precedents - execution of publications. Here, the books are time, of course. We look at it and see its weak- for the project. Some of the more terval. This allows for higher ambitions, enabling sensual objects, and it matters quite a bit how they nesses, but we also want to see its potential. The well-known models for this approach come from more research-intensive and discursively engaged feel in your hands. It matters that everything has question is how to counter the homogenizing ef- the history of documenta, an institution that is explorations than the typical two-year cycle can been put together carefully and yet with a feeling famously conscious of its own relation to his- sustain. documenta is thus an exhibition that crys- of timeliness and urgency. I don’t really see any that is singular, personal, and connected in a dif- problem with institutionalization in this kind of Enwezor coordinated for are historically while making history. project. For documenta to produce a radical series - like this is a fantastic way to invest some of its gen- write exhibition out of the global North and drew tion in the publications, platforms, lectures, and erous budget—and also to make use of the high is thirty pages long and was sent to hundreds of explicit connections between contemporary art exhibition formats of the last three documenta visibility of an exhibition like this. journalists, most of whom were puzzled."% and discourses including postcolonial theory, exhibitions you mentioned. These shows occurred A series like this couldn’t have been made transitional justice, urbanism, and nongovernmen- during a period of “biennialization” and alongside – What you say here about the aesthet- without our current ways of communicating, tal politics. Such a comprehensive reorientation a more general pedagogical or discursive turn in ics of the notebooks is very important. For the network-building, and travelling. At one point was possible in part because of the interventions contemporary art. These contexts clearly inform moment, though, I’d like to stay with the question I was in touch with almost two hundred people Catherine David had made in : the the examples of the documenta publications you of the project’s rhetorical dimension—the many simultaneously, which would have been unimagi- presentation program, the mentioned. While these precedents were impor- modes of address it uses to engage its various nable without e-mail. But most notebook com- book , and audiences (whether real or imagined, present or missions were preceded by in-person meetings. the Hybrid Workspace, a digital mediatheque Carolyn and Chus together travelled the world in - broad, ambitious, and artist driven, with a cata- cacophony,” in part because it suggests an impor- order to sit down with most of the contributors edged these precedents with the Magazines logue consisting of a nine-hundred-page binder tant break with the precedents we’ve discussed, and these conversations focused on what each project, which was more modest in some respects that brought together myriad materials from the which tended to eschew a more personal or af- of them considered to be the most urgent issues but still encompassed nearly a hundred publica- exhibition and its research process."$ The fective mode. (This aversion might not apply to of our time."& The responses became the starting tions. How did this history inform? project thrived on what all these earlier exhibi- Szeemann, however, whose notion of “individual point for the notebooks, which were published - continuously over the two years preceding the other editors wanted to continue? What sorts of der, though, if it also speaks to larger, more struc- exhibition, when we commissioned and published it broadly, postcolonial theory, debates around art tural transformations in the status of the public one notebook a week, on average. This entailed

32 33 an incredible amount of communication and anti-art, non-art, and so on. The second has to was a kind of gamble, an experiment in forming do with changes in the political economy of the by continuously sending notebooks out into the exposure to these changes (i.e., not only of the world. There is a sense of both porousness and expansion of the global art market, but also of the urgency, and one could even propose that the degree to which everyday life has become aes- series as a whole is a kind of response to questions it doesn’t even know yet how to ask—there is a - need to reimagine, to invent, and to move forward. onomy tends to be initiated by artists or curators, We were at the same time tracing and disrupting a whereas the second is something over which they curatorial research itinerary by inviting one hun- dred voices. All of this was, of course, very much a these two types of heteronomy are deeply related, product of our time, technologically speaking and if in ways that are often contradictory and not otherwise. But we were also working with these always predictable. Now more than ever, art is modes of writing, reading, and thinking as a way to slow everything down, so in this sense the series freedoms it used to enjoy as Art, but this often embraced both speed and deceleration. comes at the cost of greater exposure to recu- peration, complicity, or instrumentalization. The derive from the notebook format, as well as from promise and interest of projects like lie the personality and manner of Carolyn herself. in their ability to register these contradictions, and Authors responded to the notebook format posi- to do so using hybridized or improvised means. It tively, and it made many of them contribute texts seems you speak to such tensions when you posi- or materials they had never before considered for tion the project as a response to questions it can’t publication. Note-taking, as a formal proposal, quite yet ask. I’m struck also by your pairing of “urgency” and “porousness”—it would seem that art’s increasingly porous status is both an oppor- – Keeping with the question of context, tunity and a liability, and I wonder how we might tell these apart. within a broader set of developments in curatorial practice in which exhibitions have increasingly concerned themselves with discursivity, seeing contemporary art’s double bind, or art’s double discourse not only as a social phenomenon to be heteronomy, as you call it, and herein lie the represented, but also as an organizing principle reasons that theorists like Jacques Rancière are - searching for a “third way” that mediates the usual hibitions do not just aim to catalyze conversations; opposition between interventionist and formalist rather, they understand themselves as conversa- logics of critical art. We’re still catching up with tions—as forms of dialogue, research, and debate. This involves a radical shift in the conceptual hori- self-questioning of art and its movement into zon of the exhibition form: a displacement from larger spheres of public life, and alongside this the representation to intervention, or from autonomy phenomenal parallel expansion of what you call to heteronomy. the political economy of the aesthetic sphere. This However, there is a larger question looming is very fertile, but also uncomfortable, ground. here regarding the way we conceptualize and his- But, as we’ve discussed, the discursive turn of art toricize the heteronomy of contemporary art, but is always bound to consider art’s physical mani- to get at it we need to understand this heteronomy festation, its sensual mysteries and embodiments that mere words can’t articulate. For our purposes, this entails the object-character of the notebooks white cube toward intermedia, “post-medium,” and the sensual, one-on-one elements of their

34 35 rhetoric, which they “learned” from art. I wonder some bearing on aesthetic questions, this relation- evolve so easily out of the inner logic of the series on love, which served as a kind of leitmotif in if it may be a good moment to turn to individual ship remains oblique and is not made explicit in was a powerful element of the commissioning and , cropping up in other notebooks like Etel notebooks, now that we’ve dealt with the project’s the sensuous form of the texts themselves. editing process. That’s how we took advantage Adnan’s conceptualization and its larger context. My intent here is not at all to set up some of the extent to which the series could explore and activate the vast potential of art’s discursive, concern for the ways in which art might assume a – I agree that the discursive turn can never notebooks as somehow more or less worthy as heteronomous terrain. entirely sever its connection to the aesthetic—it art. Rather, it’s to suggest that these examples Though I am not exactly sure how much the or alleviating trauma. In the case of Harman, I are actually the exception and that many of the notebooks by Butler, Harman, or Hardt relate wondered whether his project of an “object- if it seeks to change our sense of what that art to art, I agree that they relate to literature as a oriented ontology” informed Christov-Bakargiev’s might be. Perhaps we could start by considering demarcated by these polarities between art and its way to transcend theory or philosophy—which decisions to display and speak of objects as having the extraordinary range of forms and practices many complements (literature, testimony, phi- makes them a welcome hybrid model for an art a sort of autonomy, most conspicuously in the dis- context. In all three cases the writers went back to play entitled “The Brain,” a collection of objects There are numerous ways we could schematize things about the project is the extent to which it their longstanding research to present it in much meant to encapsulate the larger objectives of the these, but in keeping with our discussion thus far, explores and activates the vast potential of this shorter and more accessible form. That is usually exhibition as a whole. we might start by mapping their proximity to art discursive, heteronomous terrain. We can see this, a challenging exercise, but I think in these cases in some of its more recognizable modes. for example, in the diverse forms that notes take in they succeeded. Other notebooks in that vein that – To commission this trio of notebooks on Near the centre of this chart would be note- the overall publishing project: marginalia, frag- come to mind include those by Christoph Menke love by Butler, Hardt, and Adnan was a leap typi- books like Lawrence Weiner’s,"' ments, scrapbooks, parables, open letters, specula- (Innocent cal of Carolyn, one that embodies her spirit and an interplay among diagrams, signs, drawings, tions, manifestos, archives, shooting scripts, and stubborn rejection or transcendence of conven- many more. To what extent was this diversity an Ironic Ethics tions. Such an attitude was certainly at the core on sculpture, perception, and the ontology of art. explicit goal of the selection process, and what Eduardo Viveiros de Castro ( of this documenta’s character, which emphasized Recalling his famous statement, “the work need sorts of steps did you take toward this end? More - not be built,” one can read the book as a kind "* of conceptual artwork that puts the concepts of think we should be speaking about here—ones Viveiros de Castro, a Brazilian anthropologist, – One notebook that stands out for me is art, work, and authorship into question. Similar that surprised you, that make particularly interest- didn’t aim so much to translate his work into a the one produced by Ayreen Anastas and Rene ing use of the format, or that might change our more popular form but rather to capitalize on a #" which nominally concerns , an experiment in which the artist sense of what note-taking can mean or do? new publication context. In this way his text forms the Occupy movement but heads into territories wrote a brief Chinese text and had it translated a bridge to notebooks of republished material by – Our starting point with all the notebook more historical thinkers like Furio Jesi (The Sus- Much of it takes the form of a kind of conceptual with wildly varying results."( Song’s book assumes authors was to ask them to merely consider note- - mapping, looking something like Mark Lombardi’s the familiar model of project documentation, taking, and this naturally produced the diverse #+ one of my favourites. Castoriadis even as it also critiques the hegemony of Western voices and formats that the project comprises, reproduces the notes he usually took on whatever There are references to the history of feminism and language and form—a problem within which it which we roughly grouped as artist notebooks, scraps of paper were at hand, which produced a labour, to Chernobyl and Fukushima, to the theory implicates . collaborations, facsimile-reproduced material second narrative of found material. of general intellect, to the procedures of direct de- Further out toward the periphery we might with introductions, or commissioned essays. We mocracy—all arranged in interconnected clusters. locate notebooks like Nawal El Saadawi’s The did not think so much about how to generate this – Some of those notes by Castoriadis are Just as the logic of these groupings seems evident, which moves between amazing as artifacts: his letter to Lacan in classical this order is disrupted by slogans, or strangely po- criticism and memoir as it recounts the recent what Carolyn and Chus thought might come out - etic fragments, or collaged designs. Aesthetics and prosecution of Egypt’s former president. Al- of an artist’s research process; questions about reaucratized barbarism, sketched on the back of a politics aren’t superimposed on each other, as some- though the notebook shows us some of the ways what kinds of conversations had happened and sheet of Red Cross food ration tickets; philosophi- times happens; rather, they’re subjected to repeated in which politics and aesthetics intersect in that how to capture these moments of shared thinking; cal speculations on hospital letterhead. I think he collisions under intense pressure. conjuncture, its own mode of address is much ways to represent archival, more personal, or what might have appreciated this reminder that even closer to literature than to visual or time-based art. is usually considered pre-publishable material. theories of imagination take material form under – It’s a really dense and complex note- Something similar is true of the contributions from Sometimes we simply wished to invite a thinker concrete historical conditions. book, something like a cartography of its moment, the philosophers Judith Butler ( who seemed exciting. But it was at least as much In regards to Butler et al., what I had in mind or even a portal into it. The pages reproduced the contributors’ responses as our own vision that was something from outside these texts, namely there document the emergence and crisis of the Hardt (- produced the wide range of note-taking formats. their relation to certain curatorial strategies within Occupy movement, from its formation to its man (") Though these texts have The way the individual notebooks seemed to the Kassel exhibition. Both Butler and Hardt write eviction from Zucotti Park, and its subsequent

36 37 It might also be worth considering the ways About the Authors

The notebook not only asks what constitutes a po- in which note-taking allows for new articulations change over time? Thinking back on the successes Bettina Funcke is an independent writer and teacher. In litical activity today; it also questions what comes and failures of this experience, can you imagine addition to her book, Pop or Populus: Art between High and after such discussions. You can spend hours with Among many other possible examples, I’ll men- other avenues that projects like this might pursue? Low (Sternberg Press, 2009), her writings on contemporary it. The miniscule writing reproduced in facsimile tion Mario Bellatin’s notebook - And are there ways in which you think that ven- art and its production have been published widely, in both artist monographs and magazines, including Afterall, Artfo- ## in the notebook, jutting in various directions, , tures like might even be able to shift our rum, Bookforum, Speculations, and Texte zur Kunst. Essays consisting mainly of topics for hypothetical books, sense of what kind of future is possible? include texts on Sarah Morris, Wade Guyton, Gerard Byrne, with the dialectic of appearance and conceal- which range from hospital reports and the history and Jacques Rancière, as well as conversations with Kelley Walker, Carol Bove, Johanna Burton, Graham Harman, and of cameras to the sleep of animals. Or we might – I have previously worked on books on Peter Sloterdijk. Currently a faculty member of the Critical discovered it. This notebook is also an example of think of Nanni Balestrini’s ,#$ which sets art, rather than on exhibitions; I am quite aware Theory and the Arts Masters Program at the School of note-taking as a form of organizing your thoughts, up relays between multiple moments in postwar that they are what remains. We know this as Visual Arts, New York, she has lectured widely on aesthet- ics, art theory, and art writing. She is a co-founder of the and it certainly takes advantage of art as a connec- scholars, too, more so if you add a hundred years, Leopard Press and the Continuous Project group. tor or conjunction. among historical, social, and subjective time. when the people who were involved are no longer around. With the project, Andrew Stefan Weiner teaches in the Curatorial Practice MA Program at California College of the Arts. He received – This idea of art as conjunction raises the – You picked great examples for the his PhD in Rhetoric from University of California, Berke- freedom of notes, their unexpected and layered all the voices I came to know and the publications ley, where his dissertation tracked the changing relation modes of experience that might otherwise appear nature. It takes so many forces to narrow down that had to continuously be produced and consid- between aesthetics and politics in Central Europe circa 1968, focusing on the category of the event. He has written distinct—between aesthetics and politics, ecology, an argument and to make a point; it takes one’s ered alongside the coalescing exhibition, there was on contemporary art for publications including ARTMargins, research, or any of the other domains of which whole mind to translate thoughts into the ter- not much time to think about the future life of the Grey Room, Afterall, and Journal of Visual Culture. He is cur- we’ve been speaking. Often we think of these rently editing Talk Shows, a collection of texts on discursive connections as additions or bridges. But I wonder it took me months to understand what it was that exhibition formats, which will be published in 2014. how it might change things to also think in terms we’d made, and I’m still thinking about that. of recombinations, disagreements, and experi- are possibly more interesting. Notes are often Hopefully we brought new thinkers of all kinds Notes begin on page 119. ments. Or something on the order of an encounter: to a larger public—made their work more known a contingent event whose consequences can’t be conclusions after long research. Bellatin clearly and thus more supported and more meaningful. I anticipated in advance and for which we cannot takes advantage of this in his notebook, which I hope we inspired the contributors themselves, also fully prepare? read as a story in itself, in addition to being notes through the other notebooks. I hope that editors, for future books. curators, writers, and artists will pick up ideas – I’m tempted to say “all of the above,” from the notebooks, be they from the material accessible to a broader range of readers. There or from the format. I’m pretty sure it will be a of this kind of connective work. Sometimes an artwork or notebook acted as a bridge, a disagree- out what to do with these sketched-out ideas a hundred years. What will all our urgencies and ment, and an experiment all at the same time. and thoughts. The blurred transitions between tonalities mean then? It’s impossible to imagine. Maybe this is a key to what has changed for art discursive and visual thought—between words Some of it may be perceived as lucid; other as- in its more recent, discursive engagements—con- and images—is another reason for the openness pects will have become obscure or even quaint. junctions have moved to art’s inner workings; they and particular texture of the publication series, Technologically speaking, the notebook are its primary impulses. especially in the context of art. It may come clos- represents the moment when the digital verges on est to how a thought actually evolves between the replacing the analog in book-making. So the ma- – We might not be inclined to think that eye, the mind, and the word, and how the hand terial traces that are almost fetishized here through a notebook could operate within such an ambi- records the actual traces of this process. tious rethinking of what art is and does. Notes are and more historical, while the idea of distribu- typically thought to be preliminary or cursory; – Taking a cue from Bellatin, I wonder tion and fast and broad production, and of a globe-encircling conversation, may become more ostensibly stands on its own. And yet notes allow future of the project. Early on you common. That’s the optimistic view, and that us to draw connections that might not otherwise described how the notebook format was meant to goes along with my belief that a lot of promise and seem permissible or plausible. They give us the visionary thought can be found in the notebooks, freedom to swerve, or even change the rules in the you say more about the potential of this archive which, to answer your question, might shift our middle of the game. you’ve assembled? What sort of interest might it sense of what kind of future is possible.

38 39 series of concerts in Paris in October (1975), The St. Nicholas Hotel (1976), Nauman from 1969 and 1970 outlining Vancouver: Morris and Helen Belkin Art 4. Mariam Ghani and Ashraf Ghani, Cornelius Castoriadis (notebook no. 1969, including three during the open- and Handcuffs (1977). James Reaney, the coordination of the exhibition. Gallery, 2009), 22. Afghanistan: A Lexicon, dOCUMENTA 021); Edouard Glissant (notebook no. ing of the Sixième Biennale des Jeunes The Donnellys (Vancouver: Porcepic 33. Greg Curnoe, “Amendment to Con- 49. In a 1993 interview Hassan stated: (13) notebook no. 029 (Ostfildern: Hatje 038); Salvador Dalí (notebook no. 039); and one at the Galerie de France. The Books, 1983). tinental Refusal,” 20 Cents Magazine, “I felt that the kind of political/activist Cantz, 2011). Walter Benjamin (notebook no. 045); following week they performed two 18. William Toye, ed., “Southern Ontario April 1970. work that I was doing—and wanting 5. Jolyon Leslie, The Garden of Exile, Thomas Mann and Theodor W. Adorno concerts at the Institute of Contempo- Gothic,” in The Concise Oxford Com- 34. Smith, “The Provincialism Problem,” to see more support for it in the For- dOCUMENTA (13) notebook no. 058 (notebook 050); Furio Jesi (notebook rary Art in London, UK. See Pierre Thé- panion to Canadian Literature (Oxford: 3. est City Gallery—that there was not a (Ostfildern: Hatje Cantz, 2012). no. 069); Mark Lombardi (notebook no. berge, “Confessions of a Nihilist Spasm Oxford University Press, 2001), 455–56. 35. Greg Curnoe, as part of “Ten Artists particularly good reception to that kind 6. Sarah Rifky, The Going Insurrection, 071); Melanie Klein (notebook no. 098); Band Addict,” artscanada, December 19. Greg Curnoe, “Editorial,” Region 8 in Search of ,” Canadian of work and that any kind of program- dOCUMENTA (13) notebook no. 086 and Rudolf Arnheim (notebook no. 100). 1969, 67–68. (c. 1964–65). Art, January 1966, 64. ming that had been done at the Forest (Ostfildern: Hatje Cantz, 2012). 16. Lawrence Weiner, If in Fact There Is 6. Walter Redinger in 1972 (with Ger- 20. Clark McDougall, “Dan Patterson’s 36. Ross Woodman, “London (Ont.): A City Gallery, throughout the seventies, 7. Sonallah Ibrahim, Two Novels and a Context, dOCUMENTA (13) notebook shon Iskowitz); Greg Curnoe in 1976; Carnation Milk Tins,” Region 5 (Febru- New Regionalism,” artscanada, August/ around these issues had been brought Two Women, dOCUMENTA (13) note- no. 008 (Ostfildern: Hatje Cantz, 2011). Ron Martin in 1978 (with Henry Saxe); ary 1963). September 1967. in mostly by myself and Ron Benner.” book no. 047 (Ostfildern: Hatje Cantz, 17. Song Dong, Doing Nothing, dOCU- and in 1982. 21. County of Elgin Women’s Institutes 37. Ibid. See Jamelie Hassan, “Interview with 2011); and Nawal El Saadawi, The Day MENTA (13) notebook no. 084 (Ostfil- 7. Mary Malone, “Portraits of Three Tweedsmuir Histories Archive. 38. Poole, The Art of London, 143. Jamelie Hassan,” interview by uncred- Mubarak Was Tried, dOCUMENTA (13) dern: Hatje Cantz, 2012). Artists,” London Magazine, November 22. Nancy Geddes Poole, The Art of 39. “CARFAC History,” Canadian Artists’ ited interviewer, November 25, 1993, notebook no. 048 (Ostfildern: Hatje 18. Judith Butler, To Sense What 1988, 46. London (London, ON: Blackpool Press, Representation/Le Front des artistes transcript, Embassy Cultural House Cantz, 2011). Is Living in the Other: Hegel’s Early 8. A recent and significant example of 1984), 131. canadiens, accessed January 7, 2012, Fonds, London Public Library. 8. Suely Rolnik, Archive Mania, dOCU- Love, dOCUMENTA (13) notebook no. this type of scholarship can be found 23. Greg Curnoe, letter to Helen Hodg- http://fillip.ca/car5. 50. In 2010 I published an article in MENTA (13) notebook no. 022 (Ostfil- 066 (Ostfildern: Hatje Cantz, 2011); in Traffic: Conceptual Art in Canada, son, c. March 1963. Greg Curnoe Fonds, 40. Jack Chambers, “Perceptual Real- FUSE Magazine about the Embassy dern: Hatje Cantz, 2011); and Alexei Michael Hardt, The Procedures of Love, 1965–1980, an exhibition and publi- . ism,” artscanada, October 1969, 7–13. Cultural House. See Christopher Ré- Penzin, Rex Exsomnis: Sleep and dOCUMENTA (13) notebook no. 068 cation that explores conceptualism 24. Lenore Crawford, “Artists Find a 41. Mark A. Cheetham, “Past the 401: gimbal, “A Fire at the Embassy Hotel,” Subjectivity in Capitalist Modernity, (Ostfildern: Hatje Cantz, 2012); Graham in Canada by focusing on regional ‘Home from Home’ at London’s Latest The International Classicism of Jack FUSE Magazine, Summer 2010, 12–15. dOCUMENTA (13) notebook no. 097 Harman, The Third Table, dOCUMENTA manifestations in Vancouver, Calgary, Art Gallery,” London Free Press, January Chambers,” in Jack Chambers: Light, 51. Jamelie Hassan, “Planning: Power, (Ostfildern: Hatje Cantz, 2012). (13) notebook no. 085 (Ostfildern: Hatje Winnipeg, Edmonton, , London, 19, 1963. Spirit, Time, Place, and Light, ed. Dennis Politics, People,” Dia Art Foundation 9. Song Dong, Doing Nothing Garden, Cantz, 2012). Montreal, and Halifax. See Grant Arnold 25. Greg Curnoe, “Saturday 4:00,” Reid (Toronto: Art Gallery of Ontario, discussion, in If You Lived Here: The City 2013; Robin Kahn and La Cooperativa 19. Christoph Menke, Aesthetics of and Karen Henry, eds., Traffic: Concep- Region 4 (c. 1963–64). 2011), 130–31. in Art, Theory, and Social Activism. A Unidad Nacional Mujeres Saharauis, Equality, dOCUMENTA (13) notebook tual Art in Canada, 1965–1980 (Vancou- 26. Sarah Milroy, “Greg Curnoe: Time 42. Stan Brakhage, “The Hart of Lon- Project by Martha Rosler, ed. Brian Wal- The Art of Sahrawi Cooking, 2012; Omer no. 010 (Ostfildern: Hatje Cantz, 2011); ver: Vancouver Art Gallery; Edmonton: Machines,” in Greg Curnoe: Life & don: A Document of the City,” in The lis (Seattle: Bay Press, 1991), 247. Fast, Continuity, 2012; Brian Jungen, G. M. Tamas, Innocent Power, dOCU- Art Gallery of Alberta; Toronto: Justina Stuff, eds. Dennis Reid and Matthew Films of Jack Chambers, ed. Kathryn 52. AA Bronson, From Sea to Shinning Dog Run, 2012. MENTA (13) notebook no. 013 (Ostfil- M. Barnicke Gallery; Montreal: Leonard Teitelbaum (Toronto: Art Gallery of On- Elder (Toronto: Cinematheque Ontario; Sea (Toronto: Power Plant Contempo- 10. Christian Kuhtz, Trash Hacks, dOCU- dern: Hatje Cantz, 2011); Etel Adnan, and Bina Ellen Art Gallery; Halifax: tario; Vancouver: Douglas & McIntyre, Bloomington: Indiana University Press, rary Art Gallery, 1987). MENTA (13) notebook no. 081 (Ostfil- The Cost of Love We Are Not Willing to Halifax INK, 2012). 2001), 46. 2002), 123. 53. AA Bronson, “The Humiliation of dern: Hatje Cantz, 2012). Pay, dOCUMENTA (13) notebook no. 9. A discussion of how regionalism is 27. Participating artists in The Heart of 43. The exhibition featured sculptures the Bureaucrat: Artist-Run Centres as 11. Okwui Enwezor, et al., eds., Democ- 006 (Ostfildern: Hatje Cantz, 2011); applied by these three authors can be London were John Boyle, Jack Cham- by Don Bonham, Bob Bozak, Michael Museums by Artists,” in Museums by racy Unrealized: documenta11_Plat- Franco “Bifo” Berardi, Ironic Ethics, found in Virginia Nixon, “The Concept bers, Greg Curnoe, Murray Favro, Bev Durham, David Gordon, Robin Hobbs, Artists, eds. AA Bronson and Peggy form1 (Ostfildern: Hatje Cantz, 2002); dOCUMENTA (13) notebook no. 027 of ‘Regionalism’ in Canadian Art His- Kelly, Ron Martin, David Rabinowitch, Terry Hughes, Steve Parzybok, and Jeff Gale (Toronto: Art Metropole, 1983), 30. Enwezor et al., eds., Experiments (Ostfildern: Hatje Cantz, 2011); Eduardo tory,” Journal of Canadian Art History/ Royden Rabinowitch, Walter Redinger, Rubinoff. See Stephen Joy, “The Ware- 54. Philip Monk, “Five Questions of with Truth: Documenta11_Platform2 Viveiros de Castro, Radical Dualism: Annales d’histoire de l’art Canadien 10, Tony Urquhart, and Ed Zelenack. See house Show, June 1970,” artscanada, Regionalism,” Open Letter, series 11, (Ostfildern: Hatje Cantz, 2002); Roger A Meta-fantasy on the Square Root of no. 1 (1987), 30–40. Pierre Théberge, The Heart of London, August 1970, 63. no. 5 (Summer 2002). Buergel et al., eds., Dual Organization, or a Savage Hom- 10. J. Russell Harper discusses Carl exhibition catalogue (Ottawa: National 44. Victor Coleman, “Knowing the Magazine Reader (Cologne: Taschen, age to Lévi-Strauss, dOCUMENTA (13) Schaefer and Charles Comfort’s work in Gallery of Canada, 1966). Surface,” artscanada, February/March 2007); Catherine David and Jean- notebook no. 056 (Ostfildern: Hatje his chapter “Regionalism in the 1930s,” 28. See “Three Artists Intend to 1972, 71–72. François Chevrier, eds., Politics-Poetics: Cantz, 2012). in Painting in Canada: A History, 2nd ed. Withdraw Exhibits in Gallery Dispute,” 45. The story of the founding of the Page 28–39 documenta X (Ostfildern: Cantz, 1997). 20. Furio Jesi, The Suspension of (Toronto: University of Toronto Press, London Free Press, May 10, 1966, and Forest City Gallery is told by Bernice 12. Carolyn Christov-Bakargiev, “The Historical Time, dOCUMENTA (13) note- 1977), 304–13. “Three Artists Quit Show,” Toronto Daily Vincent in “Bernice Vincent on the Ori- Bettina Funcke with dance was very frenetic, lively, rattling, book no. 069, (Ostfildern: Hatje Cantz, 11. George Bowering, “Reaney’s Star, May 11, 1966. gins of the Forest City Gallery,” in Forest Andrew Stefan Weiner clanging, rolling, contorted, and lasted 2012); Cornelius Castoriadis, untitled, Region,” in Approaches to the Work 29. 20/20 Gallery press release, City Gallery 1973–1993, 20th Anniversary Intimate Cacophonies for a long time,” in The Book of Books, dOCUMENTA (13) notebook no. 021 of James Reaney, ed. Stan Dragland April 27, 1970. 20/20 Gallery Fonds, Issue (London, ON: Forest City Gallery, vol. 1, dOCUMENTA (13) catalogue (Ost- (Ostfildern: Hatje Cantz, 2011). (Toronto: ECW Press, 1983), 3. London Public Library. 1993), 12–16. 1. For a list of all 100 notebooks and fildern: Hatje Cantz, 2012), 31. 21. Ayreen Anastas and Rene Gabri, 12. Terry Smith, “The Provincialism 30. Greg Curnoe, “Five Co-op Galleries 46. The participating London artists summaries of their content see “dOCU- 13. Harald Szeeman et al., Ecce occupy: Fragments from conversa- Problem,” Artforum, September 1974, in Toronto and London from 1957 to were Ron Benner, Greg Curnoe, Chris- MENTA (13): Information,” http://d13. catalogue/binder: Befragung der Re- tions between free persons and captive 54–59. Reprinted in the Journal of Art 1992” (paper presented at an unknown topher Dewdney, Lise Downe, kerry documenta.de. alität—Bildwelten heute (Kassel: docu- persons concerning the crisis of every- Historiography, no. 4 (June 2011). conference, Montreal, October 1992). ferris, Jim Gillies, Jamelie Hassan, Sam 2. Annemarie Sauzeau, Alighiero menta and Bertelsmann Verlag, 1972). thing everywhere, the need for great fic- 13. Emphasis in the original. Bowering, Transcript from Greg Curnoe’s artist file Krizan, George Lagrady, and Bogdan Boetti’s One Hotel, dOCUMENTA (13) 14. Carolyn Christov-Bakargiev, Letter tions without proper names, the premise “Reaney’s Region,” 13. at the London Public Library. Zarski. notebook no. 025 (Ostfildern: Hatje to a Friend, dOCUMENTA (13) notebook of the commons, the exploitation of our 14. James Reaney, “Editorial,” Alpha- 31. Robert C. McKenzie, “20/20 Gallery 47. Jamelie Hassan, letter to Mr. Gildo Cantz, 2011). no. 003 (Ostfildern: Hatje Cantz, 2011). everyday communism..., dOCUMENTA bet 4 (June 1962), 3. Closes,” 20 Cents Magazine, September Gonzalez, April 3, 1980. Forest City Gal- 3. Mario Garcia Torres, A Few Questions 15. While most notebook contributors (13) notebook no. 089 (Ostfildern: Hatje 15. James Reaney, “Editorial,” Alphabet 1970. lery Fonds, McIntosh Gallery, University Regarding the Hesitance at Choosing are alive, the publication series also Cantz, 2012). 1 (Sept 1960), 3. 32. The “Correspondence” file in the of Western Ontario. between Bringing a Bottle of Wine or a reproduced some older material in 22. Mario Bellatin, The Hundred Thou- 16. Bowering, “Reaney’s Region,” 6. Greg Curnoe Fonds at the Art Gallery 48. Dot Tuer, “At the Far Edge of Home,” Bouquet of Flowers, dOCUMENTA (13) facsimile and with brief introductions, sand Books of Bellatin, dOCUMENTA 17. The three plays that make up The of Ontario contains several letters in Jamelie Hassan: At the Far Edge notebook no. 026 (Ostfildern: Hatje such as texts and written materials (13) notebook no. 018 (Ostfildern: Hatje Donnellys trilogy are Sticks & Stones and postcards between Curnoe and of Words (London: Museum London; Cantz, 2011). by György Lukàcs (notebook no. 005), Cantz, 2011).

118 119 23. Nanni Balestrini, Carbonia (We Stalin heroically, and the original has Were All Communists), dOCUMENTA since vanished. The project consists of (13) notebook no. 070 (Ostfildern: Hatje three parts: a film and a book that tell Cantz, 2012). the story of the original drawing using a series of collages and three banners for the facade of a building. The banners feature a photograph of Picasso, a pho- Page 77–83 tograph of Stalin, and, in the middle, Lene Berg holding the aforementioned Zarouhie Abdalian with Aaron Harbour portrait in front of her face. These and Jackie Im banners were extremely controversial Having Been Held Under the Sway and have twice been removed against the artist’s wishes, first from Folke- 1. Jens Hoffmann and Adriano Pedrosa, teaterbygningen (the People’s Theatre eds., The Companion to the 12th Istanbul building) in Oslo and later from Cooper Biennial (Istanbul: Istanbul Foundation Union in New York. for Culture and Arts and Yapı Kredi, 4. The Weimar Conspiracy is a film 2011), 86–87. examining locations in the German city 2. Jodi Dean, The Communist Horizon of Weimar. It shows historical sites—for (New York: Verso, 2012), 121. example, a statue of Friedrich Schiller ( 1, 2 ) 3. Jasper Bernes, “Square the Circle: or the home of Johann Wolfgang von The Logic of Occupy,” New Inquiry Goethe—and asks what these monu- Magazine, September 17, 2012, ments and places really tell us about http://fillip.ca/v9ld. these figures and how such knowledge interfaces with the realities of cultural tourism. 5. The Drowned One is a film about Page 84–92 paradoxes in our understanding of pho- tography and some of the misunder- Lene Berg with Jacob Wren standings created through our belief in Contradictions and Paradoxes the truthful reproduction of reality. 6. Dirty Young Loose is a short film 1. Gentlemen & Arseholes examines the portraying an ambiguous scenario. CIA’s covert support for certain artists In a hotel room late at night, a young and organizations during the ’50s and man is carried away unconscious on a ’60s. It focuses on the literary magazine stretcher. A woman and a man remain Encounter, funded entirely by the CIA in the room, where all three of them front organization the Congress for obviously spent some time together Cultural Freedom. Taking the form and a hidden camera had ominously re- of an exact reprint of the first issue corded everything. One after the other, (1953), Berg has underlined relevant all involved are questioned separately ( 3 ) or ironic-in-hindsight passages and by two unseen interrogators watch- inserted photocopied articles, photos, ing the images from their hotel-room etc., about the Congress’s work and the interactions. ensuing scandal that took place when, in the late ’60s, the CIA’s involvement was finally exposed. A related video, entitled The Man in the Background, tells the story of the Congress for Cul- tural Freedom’s founder and head, the cultural impresario and agent Michael Josselson, and features excerpts from an interview with his widow, Diana Josselson. 2. Jacob Wren, “Glad the CIA Is Im- moral,” C Magazine, Autumn 2008. 3. Stalin by Picasso or Portrait of Woman with Moustache is a project that circles around a 1953 charcoal drawing Picasso made of Stalin on the occasion of Stalin’s death in 1953. At the time, the drawing was condemned by the Communist party for not portraying ( 4, 5 )

120 121 ( 6, 7 ) ( 11, 12 )

( 8, 9 ) ( 13 )

( 10 ) ( 14, 15 )

122 123 ( 16 )

Further Illustrations

1. Emily Shur, Mark Zuckerberg, 2014. 7. Sandra Semchuk, Self-Portrait, 13. Giovanni Pietro Rizzoli (Giampi- C-print. April 9, 1977, 1977. etrino), Last Supper, ca. 1520, after Leonardo da Vinci. Oil on canvas. 2. Jerry Seinfeld, 1995. Seinfeld was 8. Installation view of David Rabinow- 4.6 × 8.8 m. featured prominently in a thirty-second itch, The Wide Field Piece, 1967 in the version of Apple’s “Think Different” exhibition Heart of London, National 14. Judy Chicago, Emily Dickinson commercial aired during the 1995 Gallery of Canada, Ottawa, 1969. Place Setting, 1974–79. Porcelain with season finale of Seinfeld. overglaze enamel. Gift of the Eliza- 9. 20 Cents Magazine, November 1969. beth A. Sackler Foundation. Courtesy 3. Steve Jobs, 1984. of the Brooklyn Museum. 10. documenta 1, 1955. Curated by 4. John Cage, 1983. Photo by Betty Arnold Bode. Work shown includes that 15. Lene Berg, Gentlemen & Arseholes Freeman. Courtesy of the John Cage of Toni Stadler, , Auguste (Berlin: The Green Box, 2006). Modi- Trust. Herbin, Fritz Glarner, and Frantisek fied reprint of the first issue of the Kupka. Courtesy of Archiv Stadt Kassel. cultural journal Encounter, 1953. 5. Maverick Concert Hall, Woodstock, New York. Photo by Dion Ogust. 11. Judith Butler, 2011. 16. Sara Rara at a Sumi Ink Club ses- sion in the backyard of Eugene Choo, 6. Second national conference of 12. Lene Berg holding a 1953 portrait of Vancouver, August 18, 2012. Photo by Canadian Artists’ Representation / Le Joseph Stalin by . In 2008, Jeff Khonsary. Front des artistes canadiens (CARFAC), this photograph was hung on the facade December 1973. Left to right: Kim of Cooper Union, New York, as part of Ondaatje (National Executive Trea- the exhibition Stalin by Picasso, or Por- surer), Jack Chambers (President), and trait of Woman with Moustache. It was Tony Urquhart (Secretary). later removed due to public pressure.

124 ISSN 1715-3212

9781927 354193