
I'M NOT GOING TO CALL HIM A LIAR BEHIND HIS BACK BUT I WOULD SAY IT TO HIS FACE IF HE WAS HERE
21 March 2006
17 March 2006
7 March 2006
6 March 2006
3 March 2006
"Here the focus turns to the curious problem of presence-absence, which haunts research on systems of significations. A system or sub-system, whether of objects or words, both is and is not self-sufficient. It is self sufficient; it is complete whole. Each element refers to all others. It looks as full as an egg. Look at it a bit longer and a bit more closely: see, it empties itself. A host of questions, posed technically by linguists and tragically by philosophers, now arises. We ask: Who? For whom? Why? How? The system is not self-sufficient. This 'whole' is partial and open. It refers to 'something else': purpose on the on hand, and the 'subject', on the other, and beyond these two terms lies the totality and the meaning. (,,,)"
_ Henri Lefebvre, "Preface to the study of the Habitat of the 'Pavillon'" in "Lefebvre: Key Writings" (Continuum; NY, London; 2003) p. 132.

_ Henri Lefebvre, "Preface to the study of the Habitat of the 'Pavillon'" in "Lefebvre: Key Writings" (Continuum; NY, London; 2003) p. 132.


19 February 2006
Lil Babylon
Vito Acconci speaking to Hans Ulrich Obrist: "...I paid attention to phrases like, "A person who lives by the sword dies by the sword." In other words, if a project starts out as private, it ends private; if something is meant to be public, it better start at least as a semi-public project. Now, one is private, and two is a couple, a mirror image, but three is a crowd; three spoils the couple, so it must be the beginning of public..."









14 February 2006
8 February 2006
29 January 2006
Who Knew?
28 January 2006
Interview from above
24 January 2006
Summary of reasons why an artist run centre stamp series is essential
I) Art is an important part of ___________________ identity.
II) Contemporary art is vital to ___________________'s international reputation.
III) Artist-Run Centres(or artist led centres) are integral to contemporary ___________________ art.
IIII) Contemporary art has been neglected in ___________________ postage.


II) Contemporary art is vital to ___________________'s international reputation.
III) Artist-Run Centres(or artist led centres) are integral to contemporary ___________________ art.
IIII) Contemporary art has been neglected in ___________________ postage.



18 January 2006
16 January 2006
proposal for painting exhibition
3 January 2006
The $8,000 Tandem

"Collaboration: A late twentieth century euphemism for artists working creatively together.
Collaboration: An early twentieth century euphemism for so called enemies working creatively together."
Paul Sullivan, Exit Review, Static-ops, 2003.
31 December 2005
Day 11
"... Down into the earth where dead men go I would go soon and maybe come out of it again in some healthy way, free and innocent of all human perplexity. I would perhaps be the chill of an April wind, an essential part of some indomitable river or be personally concerned in the ageless perfection of some rank mountain bearing down upon the mind by occupying forever a position in the blue easy distance. Or perhaps a smaller thing like movement in the grass on an unbearable breathless yellow day, some hidden creature going about its business - I might well be responsible for that or for some part of it. Or even those unaccountable distinctions that make an evening recognizable from its own morning, the smells and sounds and sights of the perfected and matured essences of the day, these might not be innocent of my meddling and my abiding presence. (...)
"Or perhaps I would be an influence that prevails in water, something sea-borne and far away, some certain arrangement of sun, light and water unknown and unbeheld, something far-from-usual. There are in the great world whirls of fluid and vaporous existences obtaining in their own unpassing time, unwatched and uninterpreted, valid only in their essential un-understanding mystery, justified only in their eyeless and mindless immeasurability, unassailable in their actual abstraction; of the inner quality of such a thing I might well in my own time be the true quintessential pith. I might belong to a lonely shore or be the agony of the sea when it bursts upon it in despair."
-Flann O'Brien, "The Third Policeman" (1967).
"Or perhaps I would be an influence that prevails in water, something sea-borne and far away, some certain arrangement of sun, light and water unknown and unbeheld, something far-from-usual. There are in the great world whirls of fluid and vaporous existences obtaining in their own unpassing time, unwatched and uninterpreted, valid only in their essential un-understanding mystery, justified only in their eyeless and mindless immeasurability, unassailable in their actual abstraction; of the inner quality of such a thing I might well in my own time be the true quintessential pith. I might belong to a lonely shore or be the agony of the sea when it bursts upon it in despair."
-Flann O'Brien, "The Third Policeman" (1967).
30 December 2005
"If it's construed as art in your mind, then keep it on your property."
David Cassivi, Windsor City Council
29 December 2005
26 December 2005
The Demise of Something Worth Pursuing
20 December 2005
Take my shoes off
16 December 2005
4 December 2005
2 December 2005
Interlude
I just wanted to tell you about a dream I had last night. Jon reported that he had heard back from one of the spaces for which we had devised a proposal, but he said: 'something astounding has happened- they offered me a solo show'.
29 November 2005
27 November 2005
Day 8
25 November 2005
14 November 2005
13 November 2005
12 November 2005
day 4

Of course working with others entails a dilution of sovereign
monarchic aesthetical design! The power to be a beacon of difference
is lamed a little when negotiation and communication become of
concern. But collaboration prefigures autonomy by a long shot; we can
resist that, we can work with it, or I am sure there are other
possibilities.
9 November 2005
4 November 2005
day 2
I don't know what the hell I am doing. I am between worlds, without the sharpness of mind to be aware of my surroundings. I don't survive, I dabble. If daily life can be like an architecture, with the 'life force' as the pole opposite the force of gravity, the pillar that is supposed to keep me standing, the realization of art, is rather composed of a diffuse filigree of all of the trivia and discursive habitude of a sketchbook.

The First Day
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