and

It is whole, determined, sufficient, individual, known, complete, revealed, accessible, manifest, effected, effectual, directed, dependent, distinct, planned, controlled, unified, delineated, isolated, confined, confirmed, systematic, established, predictable, explainable, apprehendable, noticeable, evident, understandable, allowable, natural, harmonious, particular, varied, interpretable, discovered, persistent, diverse, composed, orderly, flexible, divisible, extendible, influential, public, reasoned, repeatable, comprehendable, impractical, findable, actual, interrelated, active, describable, situated, recogizable, analysable, limited, avoidable, sustained, changeable, defined, provable, consistent, durable, realized, organized, unique, complex, specific, established, rational, regulated, revealed, conditioned, uniform, solitary, given, improvable, involved, maintained, particular, coherent, arranged, restricted, and presented.

It is always changing.
It has order.
It doesn't have a specific place.
Its boundaries are not fixed.
It affects other things.
It may be accessible but go unnoticed.
Part of it may also be part of something else.
Some of it is familiar.
Some of it is strange.
Knowing of it changes it.

Barry, Robert In: Information, MOMA, July 2-Sept 20 1970

It takes a great deal of time and thought to install work carefully. This should not always be thrown away. Most art is fragile and some should be placed and never moved again. Somewhere a portion of contemporary art has to exist as an example of what the art and its context were meant to be."

-Donald Judd

cause we were talking about the Kabakovs today.....

Christchurch

Hi. These are some vague photos from the show so far. I am just waiting to hear if I can install a brick sculpture in the triangle flower garden. It looks like the council will have no problems with it which is great becasue after the last incident at the sussex street sculpture park I really cant be bothered getting into trouble. I found some bricks in a building site near by and carried them back to the gallery. It was nice to dig through rubble for them as opposed to just buying them from a shop which is what I have been doing.
I have also brought some large carpet. I did not come down here with any materials due to the fact that this seemed ridiculous and impossible considering the raw materials that I have been recently working with. The show in the gallery is going to be completly on the ground. By this I mean that my work is just going to be the carpet on the floor and Sriwhana Spong's work is just on the floor too.
I am developing this idea of work on levels too. So, the brick work in the garden on the ground outside/ the carpet on gallery floor, and I will hang some flags from the roof and I have some faux pebble lino for the foyer space to go on top of the marble ground. I am finding it interesting to work within a super simple logic. Nothing tricky or cryptic ( in my eyes ).
It is cold and I am making the most of waiting to hear if I can install my brick work in the garden by using this fantastic blog site!
Tommorrow we give a talk at the artschool. I will probably talk about how ideas from my gambia show lead me to do things a little different with this show and I will probably just talk about Gambia castle or something. I have never done and artist talk. I guess I can use it to practice for my seminiar!!!

building sentences

Sol LeWitt Sentences on Conceptual Art are always a good start ...
Rational judgements repeat rational judgements.
Irrational judgements lead to new experience.
Irrational thoughts should be followed absolutely and logically.
A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.
It is difficult to bungle a good idea.
First published in 0-9 (New York), 1969, and Art-Language (England), May 1969

chees'y

Word on-the-block has it that chees'y is Mount Street's most commonly used descriptor:


chees'iness noun.

chees'y adjective having the nature of cheese; (of a smile) broad (colloquial); artifical, insincere (colloquial).


(c) Larousse plc. All rights reserved

Any helpful suggestions?

Hi, just to do something really shameful and personal... this is a bit of text I wrote up for someone when they asked for some explaniation to the images on the gambia castle website of my recent show there. Now, I can't stand writing when it becomes for an actual point, when the writing ACTUALLY has to be able to provide some necessary information. I feel it is boring and incoherent when all I want is to sound like Francis Stark ( witty, personal, funny, clever, meaningful) so I thought I would jump on in there and share my boring text with you and ask for suggestions. Does anyone have any good tips about how to write in an engaging way about their work and others work? Are some just born with the gift and will others never have it? How oh how.......

On Benefits Of Building

27.04.07

It was with this exhibition that I really wanted to tackle having and ‘existence’ in the gallery. So often my work depends upon and works closely with outside/exterior/readymade spaces. The thought of a whole art gallery to set up work in is not the most exciting for me. The thought of making an outdoor sculpture park is. The thought of making a book with buddies is.

So it was with this show that I thought I would attempt to co-opt different elements of what I found exciting while trying to tackle having a ‘show’ at the same time. I wanted this challenge because more and more I think our practices start defining themselves with a few key things that characterize our work and I guess I wanted to open this space up somehow.

The flags, the wall-extensions, the window panes, the blocking out of windows, the door with a peep hole in it to view an image of a man building a wall… These were all attempts at claiming and overtaking a space in a severe yet fragile way. I like the idea of trying to include myself into spaces inappropriately and I guess even in a dorky kind of way. I noticed with this show I was doing things that I was almost embarrassed by and wanting this to be a very real part of the show. Climbing the stairs you see the flag that’s says ‘AT LAST’. At last what? At last you get to see my show. I have arrived at last. Here I am and ‘My Poetry is Open’

Walking down the hallway are interruptions to the natural flow of the hallways. A pile of while bricks offers itself as a pillar. Further down from this are two right angles of mini brick walls concreted into the ground almost welcoming you and framing the entrance to the first room but really just getting in your path in a pathetic sort of way.

“We Must Build in the Open” are the words chalked on the floor in one of the rooms. All the work was very much directed to the windows. Either directing you to look out of them or completely blocked out. This is where the tension in my work is I guess. I am much more comfortable with my work in the outdoors.

Throughout the show are photos of myself and a friend doing performative actions with bricks. One of these locations was an abandoned property just down the street and around the corner from the gallery. It was here that my friend and I made walls, threw around bricks, balanced ourselves on our constructions and had running races with each other to see who could build a wall the fastest.

It was also in this spot that I returned to in the evening with some other Gambia Castle members in tow carrying my heavy brick walls and sculptures and attempted to make my ‘Sculpture Park’. I concreted and nailed walls, plaques and signs around the abandoned house that already had piles of bricks and rubble around it. I think it was unclear as to what was already there and what I had contributed to the location. This is often exactly the space I like my work to operate within. A very vague statement that is to be encountered by you and does not declare itself as dazzling and important. This is why I will continue to do public works and sculpture… the viewer has a chance to notice it or completely miss it but they have to be there determining whether or not to take seriously as there are not signs or placards saying what it is and what it doing there.

This was my first attempt at a mid-sized sculpture park. I drove past today (14.05.07) roughly 3 weeks later. Some of the works remain intact and some of the works have been pushed over and piled up with the bricks that were already there.

bunting in Belfast which made me think of Erica

some interesting artists

http://helgafassonaki.net/
http://www.ethermap.org/

vegetable memory

Vegetable Memory > Annual time-based art exhibition from
Elam School of Fine Arts

Curated by Morag Dempsey

PREVIEW > Thursday 17th May 6pm at The Film Archive
The Film Archive > 18 May - 23 June
1st floor, 300 karangahape road, newton, auckland

PREVIEW > The George Fraser Gallery > 22 May - 2 June
25A Princes Street, Auckland City
Hours: Thursday - Saturday 11am-4pm

Here is a snapshot of my mother's day show at Agnes Curran on Sunday.
Erica

dep_art_ment

dep_art_ment presents:
boris dornbusch

HEIMWEH (HOMESICK)
wholemeal bread, apple

13th - 27th May

41 Ponsonby Road
Auckland / NZ

playtime!

Notes For an Art School

Dexter Sinister - Just-In-Time Workshop & Occasional Bookstore website has a link to Manifesta 6 and the publication Notes For an Art School:

- an anthology of essays and interviews by international artists, curators, theorists and educators on the topic of art education. Contributors are Mai Abu ElDahab, Babak Afrassiabi, Julie Ault, Martin Beck, Liam Gillick, Boris Groys, Olaf Metzel, Haris Pellapaisiotis, Tobias Rehberger, Walid Sadek, Nasrin Tabatabai, Jan Verwoert, Anton Vidokle and Florian Waldvogel.

See http://www.manifesta6.org.cy though please note the project has since been cancelled

The contributors to the book rethink the goals and structure of an art school, its ideological contexts, the positioning of its students to the art world, its relationship to social and political conditions, and the level of its discursive involvement, drawing on specific examples and on their own experiences to interrogate the appropriateness and validity of existing school models

Simon Starling and Willem de Rooij

H all. This is a really interesting conversation that a friend recently e-mailed to me.


Dear Friends, this is an interview I wrote with Simon [starling] last
summer. It was published in a Dutch art magazine called MetropolisM.
In the text we refer to an e-advertisement, you can find the text of
it at the bottom of the page.

E-Conversation between Simon Starling and Willem de Rooij initiated by
Metropolis M, June 2006

WdR.

For a number of years now I've been a tutor at the Ateliers in
Amsterdam, an institute that offers a peculiar mix of a post-grad
education and a residency-situation. The Ateliers has a deliberately
closed character. Participants are not encouraged to spend much time
showing their work outside of the institute during their stay, and the
building is open only to those who are specifically invited. The
Städelschule, where you and I both teach a class, has a more open
structure. The yearly 'Rundgang' is an extremely popular event with
general public but also with gallerists, curators and press. Students
become aware of the market-related dynamics of their professional
'umfeld' in an early stage of their artistic development. How long or
short do you feel the lines between art-student and market should be?
Is it beneficial for students to exhibit their work outside the
academic context?

SS.

My take on this question is very much grounded in personal experience
but having said that it's experience that's 15 years old now and
without a doubt the art world has changed radically in that time.
Having graduated art school in 1992 I had no dealings with commercial
galleries or the art market for almost 8 years, and looking back on
the way my work developed in those early years I am extremely grateful
for that time largely outside of the market. I know I would be a very
different artist if I had walked straight from art school into the
arms of a commercial gallery. It wasn't that I was avoiding it but it
just didn't happen and I didn't go looking for it. I formed my early
carrier in the context of artist run spaces and public galleries. As a
result of this my instinct as a teacher is to encourage young artists
to build something of this space into their own careers and to develop
an understanding of exhibition making without the commercial world. It
seems to me paramount that young artists find a critical context for
their work before it gets sucked into the ever-proliferating art fair
circuit. But its not so easy these days, it seems like the gallerists
come knocking earlier and earlier. The balance of power has certainly
shifted and the commercial gallery world increasingly subsumes or even
orchestrates the activities of the institutions – there's less and
less of a distinction. In Germany, the Professor system that we both
work in tends towards the promotion of students by their professors.
As you say gallerists are invited to student shows and shown
particular works. That's something I'm very wary of. For me it's more
a question of opening up as many possible approaches to exhibition
making for the students- trying to address each context or situation
from a critical position. This has led to the class creating "Art
Parking" at the Frankfurt Art Fair and then more recently trying to
connect the studios to the fair building in Offenbach with 4 kms of
fiber optic cable which where then used to transmit a video
documenting the attempted installation of the the cable.

WdR.

I agree with you – its important for students to experience what it is
like to show their work outside the studio. I think a work is not
finished until it is presented and I consider a focus on exhibition
practice a vital part of any art-school's curriculum. I'm not sure in
what stage of an education this confrontation should take place
though. Much confusion might arise on both the sending and the
receiving end of the line when artists enter the exhibition circuit at
a premature stage in their development. What are the consequences if
the work of a 20 year old is measured by the same criteria (because it
is shown in the same context) as the work of lets say a 45 year old,
or a 65 year old? In your response you seem to make a clear
distinction between the demands posed on young artists by commercial
contexts, and the demands resulting from exhibiting in non-commercial
context. I wonder if these demands are so clearly separated. How do
you see this?

SS.

I'm not someone who thinks of commercial galleries as being inherently
evil. I really enjoy working with the commercial sector, it often
brings with it a great support structure and many possibilities for
realising ambitious new projects. In fact its often much more straight
forward to make a new project with a gallery than it is with an
institution. Galleries are increasingly proactive in the area of
production and that's changing the way they function. Never the less
there is a real sense in which if young artists get involved with
galleries too soon then it can seriously impact on the way that
artist's work develops – that one, half-interesting idea can easily
become a decade of repetitive production. Of course there are similar
pressures from institutions as well. It's all about working with the
right people in the end and when your 20 years old its often difficult
to tell who has your best interests at heart. To me working with a
gallery should be a long-term project on both sides and I can't help
but mistrust gallerists who feel compelled to work with artists when
their ideas about their work have still so far to evolve. It goes back
to your point about when is the right moment to confront exhibition
making. In many ways this should happen from the very beginning and
generally does in a very natural way when looking at exhibitions by
other artists, I would always encourage students to take onboard the
framing of work within whatever context it may appear. In that way the
hope is that when they do come to exhibit themselves, they can do that
from the strongest possible position. One of the great innovations in
Frankfurt has been Portikus which over the years has allowed students
access to exhibition making of all kinds and to start to get a sense
of the possibilities, even within a fairly modest white cube.
Exhibition making has always been an integral part of the way the
school functions. Surely at the Ateliers in Amsterdam this is a major
concern too? The teaching staff there seem to be some of the most
sophisticated exhibition makers around, a monastic education would
seem contradictory.

WdR.

Let me tell you a bit about my experiences as an art student before I
answer your question. I studied at the Gerrit Rietveld Academy in
Amsterdam in the early nineties. At the time this course took 5 years.
The curriculum was limited to say the least, and the notion that 5
year contracts benefit the vitality of a faculty had not dawned. Most
tutors had a contract for life, and when I arrived many had long
outlived their own expiration date. Besides that the salaries were so
low that it proved impossible to attract tutors that had more
lucrative sources of income, or who didn't live in the direct vicinity
of the school. Result was a staff that was in the best cases
passionate about teaching, but was not up to date with international
(and sometimes not even national) developments. As far as I know, this
situation has not changed to date. Luckily enough Amsterdam has two
excellent institutions for postgrad education: The Ateliers and the
Rijksacademy. These institutions are not financially dependent on the
Dutch ministry of education, so there's more space to maneuver. I
attended the Rijksacademie for two years in the late nineties. Their
Open Studios attract a lot of international attention, and there's a
broad range of critics, curators, artists and dealers who visit the
institute all year through. One could say the institute runs a
distinctly career-oriented program, and artistic success is often
measured on the basis of CV-related data. Many students thrive in this
system and use the mix of public attention and institutional safety to
sharpen their presentation-methods and develop a public persona. But
in this system insecure students often come to overly professional
presentations of what are basically unfinished pieces. They'll cater
to the industry with pieces that look like art, but lack material and
conceptual depth. The Ateliers, where I joined as an advisor later,
discourages students to engage in public ventures during their stay.
The institute is run by artists, and (almost) only artists are invited
to visit the students in their studio. This model provokes some
problems. As you mentioned, exhibiting is part of artistic production,
and a piece is not finished if its final contextualisation has not
been thought through. Ateliers students are sometimes somewhat
unsophisticated in presenting their work in public after two years of
intense training, and I find this deeply problematic. But the absence
of curatorial and commercial stress during their work-period proves
very beneficial for their focus on the work. At the Ateliers students
can actually take the time to produce - and reflect on their work,
whereas during my stay at the Rijks I met many people, but all I
produced were CV's and documentation-tapes. In any case, both
Rijksacademy and Ateliers work with students that are a bit older. But
at Rietveld, or Städel, some students are so young and inexperienced
that establishing relationships with the art-world - to my opinion -
can often be more confusing then beneficial. In the earliest stages of
artistic development it is often hard to take the emotional distance
from the work that is needed for professional interaction.

A number of exhibitions have been focussing on the subject of
art-eduction lately, Manifesta 6 amongst them. What do you think is
the reason for this curatorial interest, and what do you feel might be
consequences for students, and viewers?

SS.

Yes, you're absolutely right, there does seem to be a rash of things
going on in that area. I suppose in Europe it may be related to this
on-going discussion about the nature of art education in general and
its relationship to other forms of university education, the
professorial system v. the American modular system, but perhaps that's
a discussion for another day. I was very interested to read the mail
you forwarded me regarding the MFA exhibition that will take place at
David Zwirner Gallery in New York. It seems that not only does the
gallery world want to consume the institutions but also education too.
I was recently surprised by a comment made by one of my students, an
exchange student from New York, who said that it is generally
understood that what you're paying for as an undergraduate or masters
student in the New York schools is access to the market. I was also
interested to find that in a recent retrospective catalogue on the
work of John Baldessari they had published an extensive interview
solely about his teaching activities. I enjoyed this very much and
loved Baldessari's approach but that interview seems to be part of the
same trend. And as you say Manifesta has taken the model of the
Staedelschule summer school to Cyprus - although it seems that they
may have pushed a little bit further than the local politics care to
stretch. Finally it seems as if the strange Manifesta bandwagon might
have ground to a halt. Perhaps though all of this is simply a
continuation of the 'platform' culture of production that has become
so endemic and formalized in recent years. The art institution could
be seen as convenient model in that respect – a surrogate platform if
you like. When I started studying in the late 80's in Britain there
was very little talk of the professional practice within art schools,
they were places to learn a creative discipline and a little related
theory and history. There was even an implicit understanding that
probably only a handful of graduates would end up as artists – that's
changed radically and its' now professional practice is a "learning
outcome" for most schools. Gone are the days when art education was
really for nurturing rock stars. The stakes are higher now, in some
cases very high. I just came back from being the external examiner of
Central St. Martins School in London where I was immediately struck by
how many people had presented offices as their final degree show – art
education is becoming increasingly modularised and bureaucratized and
it seems the students respond accordingly.

WdR.

I know what you mean! I find the curatorial embrace of art-education
very problematic. I'm sure education is up for improvement in most
every art-school in the world. But for curators to found a structure
in which artists are taught to produce the art these curators might
want to show, to me seems like a very difficult professional stretch
for all parties involved. For a student, the implication of a similar
system would be that being educated becomes the award for showing what
the curator/teacher wants, and that learning/producing what the
teacher/curator wants results in being exhibited. I don't think
art-students, and artists, should be taught to adapt to existing
curatorial, commercial or educational structures. I also don't think
they should be obliged or expected, or even invited, to help shape
these structures by participating in fora, discussions and platforms.
I feel artists should be independent and free to create what they want
to create, and that the administrative and bureaucratic system that by
its nature and through necessity constitutes the world of curators and
dealers, must react accordingly. Maybe education is so fashionable at
the moment because exhibitions are forced - by both private and public
sponsors - to accommodate increasingly large audiences. When art (or
anything else, for that matter) has to cater to many viewers, details
and nuances naturally get lost. It is in this phenomenon that the
basics of good logo-design are laying. But a successful art-piece
derives its inherent qualities from another formal economy than a
logo, and therefor is usually understood by less viewers than a good
logo. There are two things we can do if we want nuances and details to
remain part of our understanding of art. We can try to educate the
large crowd we're currently aiming to entertain to be able to read the
subtleties mentioned above. But we could also set out to find other
(possibly more modest) means of finance, so that we can share our work
with smaller, more motivated audiences. Audiences one does not have to
teach how to be curious.

YES

Between - George Fraser Gallery

Useful hints for artist talks

[option 1]
Online Events include a selection of Cultural Theory and Artist Talks, Symposia, Sound & Performance.:
http://www.tate.org.uk/onlineevents/archive/
Gilbert&George/Tacita Dean/Susan Hiller/Bill Viola/Rachel Whitebread
Aslem Kiefer ...
[option 2]
MAKE THE MOST OF YOUR PUBLIC APPEARANCES
http://www.artbusiness.com/appearpub.htm
The good news is that any artist can overcome difficulties and make the most of their public appearances. All that's necessary are three basic ingredients: A brief scripted talk, a committment to make yourself accessible, and a video showing you and your art.

Your Talk

Your goal is to connect with people by telling them who you are, describing your art, and answering their questions. Here are several tips on how to script and deliver an effective talk:

* Begin by writing down everything you can about your career and your art. Free associate and don't bother wity organization, grammar or spelling. You want to get as many ideas down on paper as possible.

* When you have enough material, separate out those statements that best characterize you and your art. These should include brief background information, why your art is significant, where your ideas originate, and how you incorporate them into your work. Keep in mind that many people who attend art openings enjoy the art but know little or nothing about the artists. .

* Keep explanations simple, avoid controversial issues, and convey ideas within positive frameworks.

* Even though your art may contain negative or disturbing images, portray them as representing positive end results. You can do this without deceiving, misrepresenting, or otherwise feeling that you're compromising your values by focusing on how they point toward what people want, would like to have, or one day will have rather than what must be sacrificed in the process. Say, for example, that "My art looks towards a world where everyone conserves energy and shares our natural wealth" rather than "My art is about greed, overconsumption, and the destruction of corporate capitalism."

* Convey to people that your art has meaning on a variety of levels. In addition to its visual appeal, for example, it might also speak to a greater mission, life experience, or ideal. You want collectors to feel that they're getting more than home or office decorations when they buy your art.

* Don't try to sell your art or pressure people into buying it. Sales activities should take place one-on-one and preferably through gallery personnel.

* Keep your talk to five minutes or less with an additional few minutes for questions. Keep your entire presentation to under ten minutes in order to avoid boring people or losing their attention.

* Practice your talk alone, in front of the mirror, with friends and acquaintances, and under whatever other circumstances are necessary for you to memorize and feel comfortable delivering it.

* Practice answering questions that people consistently ask you about your art. Keep answers positive by returning to the same themes that you touch upon in your talk.

* When you're speaking, take no more than four to six questions from the audience. A good target range per answer is about thirty seconds (watch live television interviews and you'll see that longer answers tend to lose viewers' attention). Answer additional questions and address more complex topics one-on-one.

* Even though the great majority of questions and feedback are positive, prepare several damage control type responses that diffuse or deflect those infrequent negative encounters.

* The best time to give your talk is during the early second half of an opening or event. This gives people plenty of time to look around, acclimate themselves, socialize, have a glass of wine, and enjoy your art.

Making Yourself Accessible

How you act at your openings and how available you make yourself are just as important as what you say in your talk. Always arrive early and be on the floor right from the start. Continually circulate and keep interractions brief so that everyone who wants to meet you gets their chance. If someone tries to monopolize you, politely excuse yourself after a minute or two.

Make every effort to fulfill modest requests such as signing gallery invitations or catalogues, letting people have their pictures taken with you, and inscribing sold art when buyers request it. If collectors bring in old books, catalogues, or invitations that mention your name and ask you to sign them, do it. A few people will always try to take advantage of your generosity, but the overall goodwill that results from these acts will far outweigh the occasional negatives.

Additional suggestions:

* Keep a sketch pad on hand and present occasional quick drawings to children.

* Approach people who appear to be studying or discussing your art and volunteer to explain it or answer any questions.

* Create your own logo or trademark and add it to your signature like Warhol did with his soup can. Make it something you become known for. Make it something that anyone can instantly identify as having come from you.

Your Video

Putting yourself on television always adds credibility to your art as well as to your reputation. A ten to twenty minute video showing you making art, doing special appearances, receiving awards, being the center of attention at crowded openings, visiting unusual places, meeting interesting people, and having you or others speak about your art is a terrific public relations tool. Follow the same basic guidelines you use when putting together your talk and you'll have a finished product that attracts people to you and your work.

Professionally produced videos can cost thousands of dollars, of course, but no matter what your budget, you can get the job done. If you have little or no money, borrow a friend's video camera, put it on a tripod, and photograph yourself working on a piece of art while explaining what you're doing. Have a friend follow you around your studio filming you while you talk about yourself and your art.

At each of your openings, set up several comfortable chairs or couches in a quiet location and have your video play repeatedly. It'll work like a continuous talk and give people who don't get a chance to speak with you or those who are too shy to approach you an opportunity to get to know who you are. It may turn out to be just what certain collectors need to make that leap from really liking your art to actually owning it.

Artist Talk

I have been asked to give an artist's talk about my work and I have no idea how to approach it. Do you think we can have a workshop on this topic soon-ish? Any ideas who would be a good person to ask? Who else would be into having a workshop on this topic? I have added an image just to see if I can.

Monsieur Hulot and Modernity

Hi everyone,
I've talked with a few of you about showing a couple of movies from a highly singular and not-much-heard-of auteur these days, the late Jacques Tati. Tati (born Jacques Tatischeff) began his career as a mime artist who, in the 1930s, began making short films. His first feature length work was Jour de Fete (1949) about a country postman who decides to do his rounds "a l'americain" - extra-fast, with bizarre consequences. This was followed by Monsieur Hulot's Holiday in '53 and Mon Oncle (my uncle) in 1958.
Playtime, released in 1967 - which a few people here know - was Tati's own magnum opus, with an entire set of Modernist buildings constructed on a five-acre site outside Paris. The film took three years to make and bankrupted Tati.
Not surprisingly, his subsequent projects were on a more low-key scale. Trafic from 1971 involved the misadventures of an inventor taking his mini-campervan from Paris to Amsterdam, and Parade, from '75, is essentially a record of his live stand-up show. Jacques Tati died in November 1982.
If you'd like to see Mon Oncle and/or Playtime, get in touch with me on mcro093 and we can organize a time & venue.

Matt

Frieze online

hi there
Matt mentioned that this was a good site:

http://www.frieze.com

national portrait gallery presents

Erica van Zon Presents....

Hey Everyone
I'm doing a show in honour of Mother's Day

10am - 4pm
Sunday 13th May

Agnes Curran
181 Ponsonby Road
Freeman's Bay

(it's one shop back from the corner of Franklin and Ponsonby)

hello

Hi everyone

here's our blog page...

post pics of your work, writing, links to interesting places, questions, answers, invites to shows, anything you like

I'll organise a workshop on posting stuff soon, in the meantime, here are a couple of links off the top of Kate's and my heads :

http://overthenet.blogspot.com/
www.gambiacastle.net
http://www.designobserver.com/archives/024858.html#more

more to come... & add your own

sonya