the text and images below are posted from beijing, berlin, hong kong, new york, sado island and zürich. there are a few of us, and this is the space in between.

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writing oneself: the institute for spatial experiments


It could be said that these stammering movements begin egocentrically, not unexpected, as an awkward, unskilled dervish of thoughts, curiousities and flying trajectories (from me) of things trying to find their place. In other words, I am writing myself in this conversation, between you and me. What we do not know about one another has a context embedded in a structure known as art, or the institution, or the awkward banter of appointed meetings. I write myself in concentric circles that could fly through you or past you, and you may do the same, depending upon what could be put into words, where words may embody bodies and bodies circle around one another.

There is a book somewhere called Speech Matters, and in it an artist parenthesised as R.G. wrote this for his biography:

What is a biography, if not the markings of certain habits, born here, did that, a sentence or two about the ideas or questions one is concerned with, details, places of study, cities lived, a list of ‘accomplishments’. How to punctuate and elaborate a habit, until it breaks, cracks open, begins to stutter, bleed, set itself afire, and disappear into a crowd. She said, a word or two different, a small mark, to say, nothing more intimate in saying no, stopping, refusing. Why not have this book write a biography of itself. Why not a language give an account of its life. Here I said this. Here it did that. Here she died, at this date, at this time, at this place. Here she was, when everything came together and folded. Here she did this work which would never live up to anything but what an other would make of it. Where to find this other?

I have seen other versions written elsewhere. If we meet, of course it’s only one of any possible.


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preliminary notes on ice house street


#今天学了什么# Realising today that we’re only speaking in colours, collaborations “no bad, only un-good”——meaning we work hard to reserve judgement, critique, oh, inauthentic observer, otherwise catty once becoming “a life-long association that would change the world”.

At the end of August, 1844, Engels passed through Paris, en route to his employment in Manchester, England, from visiting his family in Barmen (Germany). During 10 days in the French capital, he met Marx (for the second time).

Collaboration means meeting on occasion, sometimes intensively, we laugh at the easy jetset, asking lots of questions in diversion, desiring of the “tranquility of knowledge”. But that wasn’t it. This is non-knowledge, collaboration in colour, yes, Anastas/Gabri, Bester/Kishop or WoofShop, comparative studies as variations on a what, what you want, define and argue, get lost searching for the sea, in Elements, continue softer, what you want.

Would the ‘urban entropic conclusion’ require a certain withdrawal from the social, identity radii, we’re not obligated, her islands, come out only for exposure and/or discomfort. Rearrange the flat, morning study sessions, a cheap coffee maker and a broken electric stove. But it wasn’t really broken. Engage out of what you know, engage to counter what you know; they look similar, maybe, but stylistically…approach, a rationing, an investigation. What is continuity, in the end (har har har), but the careful arrangement of objects and the nice surprise that he even noticed?

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archival stuff: the elbows

pending other posts, possible posts, about loss and grounding, and journeys, and drifting, always drifting, of course. an old image from the last days with the scanner at 12 warmington tower. i left london for beijing the day after. to return and to leave. a last one from this series before the year ends. this series that brought together and parted. a conversation with the silence of one. a silence that had started then and is still a silence today. before the year ends. the elbows. the scratches are from a long bout of forgetfulness resulting in negatives and prints being left at the konica place on dongsinandajie for nearly a year. upon returning i had still forgotten and was lucky that the staff had still remembered. scratches possibly from the tea flask of the guy with glasses, or a pair of scissors, an ice-cream wrapper, a pencil, the edge of the drawer, a quick doodle of a bunny rabbit, a paper clip, shopping or to do lists, an enlargement order, the order of a ballerina portrait to be printed on stone, slate stone, or bassie en adriaan or weiwei and her husband who also grace the interior of this store. not far from tiananmen. tiananmen. we spoke of tiananmen today. here. away. “yeah, you know that market, behind there, behind tiananmen square.” “i can’t remember the name.” “the wholesale one.” “no, not tianyi.” “just a second, let me ask.” ….”xidan.” “i went back in august this year and bought loads of things there.” “there was this handbag i bought and everyone here thought it must be over a 1000 dirhams or something but it was only 70 kuai.” we speak of inflation at the dinner table. the elbows. the elbows resting on the edge. the elbows of a you i have left. a you who was not there on this day. a you who’s elbows are in a far darker place than merely the shadow cast upon us by someone standing behind.

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father’s father
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Die Mannschaft

On Football, Nationalism and Identity Crisis

In anticipation of the football world cup, the Lebanese show their sympathy towards the German national team. The amount of German flags hanging in our neighbourhood is increasing and slowly causes discomfort.

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chainletter dinner

We prepared some of your recipes

Maria Kley:

Lucio Castro:

이토비 Toby Lee:

山口明香 Asuka Yamaguchi:

Fotini Lazaridou-Hatzigoga:

何京蕴 Anouchka van Driel & Jasmina van Driel:

Please click “more” below to see the full recipes.

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i sincerely wish this for you

“you said you didn’t care when people were not talking to you but in your films, your characters are actually always trying to connect with somebody — following someone, or trying to make contact — but they just don’t seem to be able to connect.” “i prefer some distance. i don’t decide what the best distance is — how two people can get close and not feel uncomfortable. my films treat human relationships like an experiment. there’s no real conclusion. they are always experimenting, experimenting with that distance.” from an interview here

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