active forms

You cast a color on each action that appears in the book. What comprises an action in the book. What could be such action that you respond to and how can it be (pre-)conceived as part of a book (structure)? Or does the action imply the decision to make it part of a book and this is what you act on?

Distraction

To draw attention to the approach to the from, the approach becomes the form and the perceivable form itself, this is why I dispute collection, this is not an approach only an impulse or mechanisation of too much time on ones hands. What could be beyond an impulse into an approach that is the form?

At the point when the imperfect mirror acts (coated alumninum in midnight blue) it acts by simoultaneously absorbing and reflecting, one folds and unfolds, draws a line out and up and not at all. Ambivilent? 

I too am supposedly making a book, where colour is used to cast light on the each action that occurs within the book, the books appears accumulitively. An index, we drop it in.

Ambivilence?

Letter

The idea for a publication rose during a studio visit with Joelle Tuerlinckx last year, she saw there was enough material that would be suitable for such a format. She had brought some of her own books for her presentation that day, I found them very inspiring but they have also set an impossible standard. I hear all the time that my work reminds people of her work, and I don't really know what is the reason for this projection, e.g. I unfortunately do not have this collecting mania and therefore cannot make the work of the (personal) archive the content of a book, even if I would have liked to. In her books (or the one I looked at specifically titled b.o.o.k.) structure personal anecdotes and descriptions of exhibitions by a specific attribute of the work, in this case color. The nominalism applied creates both a fictional and personal thread that runs through the work. Through assignation the book (the reproduction) is taken beyond the status of a documentation/recording of an exhibition. The plain naming of things, in a stage of reduction, denies the promotion of a specific experience (think e.g. of a linear relation between pre- and post-production or any durational aspect for that matter) by leveling (neutralising) the value of the different works, thus creating a potential for endless proliferation/multiplication. This somehow grasps a reality that I find very attractive. (Is this sense of reality rendered through a structure that is at times applied arbitrarily and sometimes justifiably?- creating a closed system that opens up for an abstract elsewhere)

In Role of a Lifetime (vanAbbemuseum until June), Deimantas Narkevičius combines drawings of a landscape where a lot of post-war socialist sculpture in Lithuania reside, films by an amateur filmmaker depicting Brighton and an interview with Peter Watkins. Especially interesting here is the moment where Watkins describes how he became interested in a series of photographs published in Paris Match and studied where the people were, what they were looking at, to extract that special feel that would allow him to construct a make-believe reality, which this series expressed for him. Further how this perception of what is real is completely subjective, he continuous that the fact that his work has always been marginalised must have effected his view; his political- and social position.

Peter Piller collects images that are familiar to everyone. He finds them in the filing cabinets of regional newspapers or in the archives of a company that sells aerial photos of houses. Freed of their original purpose they initially seem to be devoid of meaning. When the artist rearranges them and classifies them in series they at first reveal the clichés of commercial photography, but then also bring new meanings and unusual relationships to light. What appeared to be a detail, somewhere on the edge of a photo, could be the start of a narrative.

The reason that I'd like to start working on a book has to do with a slight feeling of discomfort when it comes to the exhibitions I've done so far. Even though they are very real to me, they appear (real) and disappear quite arbitrarily. The duration of the different shows, varying between one or two months, stretches the moment of presentation to an unspecified length and leaves me with a surreal feeling.
I would be most interested in employing/utilising the publication as another moment of selection (just like the exhibition), whereby this selection/construction process is imbedded in a larger structure; that of everyday life. So rather than extracting the particular from the mundane as Peter Piller does, I'd like to strengthen the ties between the personal work and the world/mundane/reality. (multiplicity)

Technocratic Openness Free Aggression

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