From where I haunt, I cannot see the catalogue Work Ethic (edited by Helen Molesworth), but if I could I would open it to page 229 – the exhibition checklist – and read the entry for George Maciunas. Here is what I would have seen (courtesy Google Books – please excuse the poor resolution): I […]
– pages 124-125 la cuisine Russian window Farewell May your journey be as easy as water trickling down the stairs! – pages 126-127 THINKING OF OUR LITTLE PAPIER-MÂCHÉ HORSE IN MILAN, I HAD THE DESIRE TO DRAW HORSES – pages 128-129 Furious Little by little – pages 130-131 At rest Alone – from Yervant Gianikian […]
This morning I passed through the pages Philip J. Deloria’s Becoming Mary Sully, looking past the names, for a word: ‘Gossip’. Beyond the above image, there was nothing written there or here online about this work or word by Sully and so I took another – well-worn – route, back to documenta 14. Here is […]
Andrea Geyer: We have talked about time, labour, performance, commitment to community, materials and the way culture runs through and within us as the artists who make it. Is there anything you would like to add? Maria Hupfield: I want to return to this idea of a thing or object as an event that unfolds […]
No words today; only an idiom (courtesy Sophie Von Hellermann) (Oh, if these pages could speak, what a sad tale they would tell!)
One of my fantasies is to be somehow able to relate to you, all in one go, my experience as a library ghost, like a snapshot, I could just show you, rather than have my story broken down into these inadequate daily posts, some of which I feel I am not even present. Even if […]
Every time you open a book, you say yes to a world. – anonymous (after Caroline Bergvall)
If is beyond obvious to say that to reach the words in a book, it first has to be opened. Well, at least for living, human readers. Even though the shelves I haunt comprise of rows of closed tomes, one of my abilities as a library’s ghost is that I can see within them and […]
From the library to the book; from the book to the word. Let’s start by highlighting the glaring use of light by Natalie Diaz in her collection Postcolonial Love Poem – and in her podcast with Tin House – only to turn to the hidden touch of delight in the repetition of the word thigh.
