Marthe Ramm Fortun
The Lecture: Improvised Notes
NABROAD.GHENT
The Lecture: Improvised Not Texts By: Nancy Barton -08, Rimanelli -22, Anders Smeby Max Razdow -42, Geir Harald Jan Van Woensel -60, Katy D Images by Marthe Ramm For Jan Dhaese, Ghent, Belgium 16th - October 28th 2012
Produced & Published by NABROAD nabroad.org Š 2012 All rights Reserv
tes Lotte Konow Lund -14, David ye -30, Sonja Engelhardt -36, dseth -48, Diamond Hamer -66 rtun, The Lecture at Galerie September
ved. Designed by Rodney Point rodneypoint.com
The Lecture: Improvised Notes
Nancy Barton
Physicality has its drawbacks. When I lived in East Hollywood during the 90’s, I looked out my window one morning to see a deep brown stain marking the sidewalk below, as if someone had dragged something too heavy toward the dumpster, and the bag had begun to tear and leak under the strain. Some months later, it was reported that a man had escaped from the window of a neighboring apartment after being partially skinned alive. Perhaps this incident encouraged me in my reclusive ways, but in any case, as the internet became a viable form of communication, I found myself drawn to the layer of distance it provided. For the thin-skinned, virtual communication substitutes a body of discourse for the body which bleeds, buffering the awkwardness and uncertainty of face-to-face interaction. The use of language, cloaking us in the safety of the Other, has provided a similar service for centuries. In the seesaw of alienation, a vacillation between the subject’s location within an amorphous field of being and the more readily defined social space of the Other, the internet offers a brief respite in the space of unmeaning, a bit of time when one can remain unseen, where play can occur, or wounds can be dressed before battle.
Perhaps this incident encour ways, but in any case, as the form of communication, I fou layer of distance it provided. virtual communication subst for the body which bleeds, bu and uncertainty of face-to-fa interaction.
raged me in my reclusive e internet became a viable und myself drawn to the . For the thin-skinned, titutes a body of discourse uffering the awkwardness ace
The Lecture: Improvised Notes
Lotte Konow Lund
When I went to the academy of fine arts, I was very interested in psychology and feminism and my theory professor recommended this book. Was it by Bourdillard, Broludilldilard, Beurriad? I don’t remember. It was this book with a woman on the cover; hanging upside down, naked, her face blurry and her long hair were flowing over the lower part of the book. The image was in black and white, she was like a ghost, and around the edge it vas a light pink ribbon. Nothing I read in this book seemed to stick except this one allegation: A transvestite is able to be a woman more than a person born with the female sex, because she has the privilege of dressing up to become a woman, free from having to pass through all the fear of not being accepted as herself as she transforms- it’s a part she plays, not the condition of being. Maybe that’s when I became aware of that: I am so happy I was not born pretty I am so happy I was not born a man And now; I am so happy my only child is a girl And by this text, anyone can pretty much pinpoint my whereabouts in the world both then and now.
I am so happy I was not born I am so happy I was not born And now; I am so happy my o
n pretty n a man only child is a girl
The Lecture: Improvised Notes
David Rimanelli
“Pyrrhic victories are okay by me,” Messenger said, taking his usual seat at the conference room table. […] “Hi, could I have a large iced coffee with half-and-half and three sugars, the New York Times, and a bottle of Advil?” Mr. Salton [first name?] Therapy. Someone is talking about its American character especially, and its more general Anglo-American success story. Freud died in London, et cetera. And Marx too, right? Messenger—is it really Messenger? Maybe it’s Salton. What sorts of things does Messenger talk about? Salton? Messenger and Salton are having lunch with a female colleague. Do they like her? Maybe one of them is having a lugubrious affair with her. Mrs. Colleague. Is she smart or stupid, in their estimation? She plays on their vanities. One day Salton and Messenger will close ranks against Mrs. Colleague. Maybe one of them has a more charitable viewpoint—the one who is not having an affair with her, no doubt. “He’s the kind of person who really doesn’t care about Global Warming or sustainability. Remember last summer, when he reduced that lovely girl from Bard to tears, simply because she used the word ‘sustainability’?” “She used a word in Messenger’s presence that Messenger does not regard as a real word.”
“He’s the kind of person who Global Warming or sustainab summer, when he reduced th tears, simply because she us ‘sustainability’?”
o really doesn’t care about bility. Remember last hat lovely girl from Bard to sed the word
The Lecture: Improvised Notes
Anders Smebye
A woman who kissed an all-white abstract painting by Cy Twombly displayed at Avignon’s Museum of Contemporary Art, appeared in court today and heard the owner’s lawyer declare her lipstick stain ‘as aggressive as a punch’. She insisted that she loved Twombly’s work, had been ‘overcome with passion’ in its presence and ‘thought he would understand’. Rindy Sam, a 30-year-old French artist, is now facing charges of “voluntarily damaging a work of art.” Restorers have tried to remove the lipstick smudge from the bone-white canvas using nearly 30 products — to no avail. ‘I left a kiss’, she told La Provence newspaper upon leaving the police station. ‘A red stain remained on the canvas... This red stain is testimony to this moment, to the power of art.’ Speaking to French news agency AFP, she said the artist had ‘left this white’ for her. The painting, which is worth an estimated $2,830,000, is owned by collector Yvon Lambert. He was asking for $2,878,000 in damages, which included the value of the painting and the $47,000 restoration cost. Prosecutors want Sam to pay a $6,400 fine and take a class on good citizenship. ---
A woman who kissed an all-w Cy Twombly displayed at Avi Contemporary Art, appeared the owner’s lawyer declare h ‘as aggressive as a punch’.
white abstract painting by ignon’s Museum of d in court today and heard her lipstick stain
The Lecture: Improvised Notes
Sonja Engelhardt
You dive into a serious conversation with the person sitting next to you, trying to vanish. I, ... ... am simply the logical reason of this eclipse. You raise your palms and say: “Mirror!”, your gaze an inverted mask of your own face that is still not facing yourself. Absolutely Idiot—for a somewhat obscured area of the main salon... (is there such thing as part shade?) ...whatever passes through it. [Sign:] Speech. What might be said (as long as the request is irrational): We will never be here again. The explanatory consultant exists.
What might be said (as long a We will never be here again. The explanatory consultant e
as the request is irrational):
exists.
The Lecture: Improvised Notes
Max Razdow
The Ancient of Days, or God Creating the Universe, or the realignment of streams from the top of the mountain, there she is reading. My co-worker is telling me about customizing the database to the updated version, but we are all wishing to be creating the universe (instead). Casper David Friedrich wrote something of this, if we spoke German; but instead to observe and deny the written word and fold, unfold, crumple, paint, dance. What is the book if we cannot close it? To create the universe from the bottom up: compass and calipers pointing two divergent directions, hand raising them from the earth (where we are). These are Streams flowing upward. To my co-workers: there is no symbol on the keyboard which points upward like that to the sky. There is left: <. There is right: >. Blakeâ&#x20AC;&#x2122;s God holds this: ^, which has found its way to the keyboard, even though Blake himself only partially believed in it. There is no single key to depict streams flowing upward, but we can make one, like this: \/. It is fitting; two slashes, pulling in opposite directions, to contain the magical attribute of dispersing the center of the self to the sky!
My co-worker is telling me ab database to the updated vers to be creating the universe (i
bout customizing the sion, but we are all wishing instead).
The Lecture: Improvised Notes
Geir Haraldseth
Passion. Instant. Swear Me. Teach Me. Can Not. Pay Up. Constant Pressures. No Scale Can Measure. Secret Treasures. Hide Me Under. Forget What Not. More Than A Woman. Climb On. Follow. Lead Me Backwards. Tomorrow. I Don’t Think Your Ready. I Don’t Think Your Ready For This Thing.
Hide Me Under. Forget What Not. More Than A Woman.
The Lecture: Improvised Notes
Jan Van Woensel
… AND THEN IT ALL ENDED AND NOTHING OF WHZT WE HAD SEEN WOLD EVER CAOME BACK TO US THISWAS JUST THE SITUATION THT WE HAD TO DEAL WITH I GUESS BUT THAT’S OK TOO, SO WHAT, THAT’S REALLY OKAY IT IS OKAY, OKAY DONT MENTION IT DONT EVEN THINK ABOUT IT ANYMORE IT’S GONE ITS ALLGONE AND WE MOVE ON, IN PAIN … YOU KNW THIS MOODY GIRL IN THE BACK OF THE CLUB STARTED TLKING ABOUT A PERFORWANCE OF GGALLIN SHE SAW WHEN SHE WAS IN LOWR EAST SIDE NEWYORK SOME TEN THOUSANT YEARS ORSO AGO AND SH TOLD US HES ACTUALLY A VERY GOOD SINGR FULL OF REAL EMOTION ND WITH SOME KIND OF WARMTH INHIS RAW VOICE AND TIMBRE WE LOKED AT AECHOTHER AND BASICALYDIDN’T CARE ABOUT WHAT SH HAD TO SAY ABUT JESUSCHRISTALLIN YEAH WE R COOL LIKE THAT WE KNOW GG BETTER THAN YOU, SILLY GIRL, WHO R YOU ANYWAY, MARIAH CARYE RO WHAT? … OH ND HERE’S AN IDEA WORTH CONSIDERIN JUST DO ME A FAVR AND HEAR ME OUT ON THS ONE {this part, about a lone wolf, mass killer, has been censured, although it was 100% relevant but understandably edgy and potentially shocking. contact the author for more information} … OR MAYB NOT … JUST DANCE ROUND THE KITCHENTABLE AND PAINT PARTYFLAGS IN ALL COLORS EXCEPT BLEU AND BLOCK OFF THE STRETS WITH TROOPS AND GAYCOPS SINGIN CHEERFULLY DISTORTED COVERS ABOUT SANFRANCSC FLOWERS AND THEN JUMP OFF THE GLDENGATE BOUNSE RIGHT BACK AND CONTINEU DANCING QUICKSTEP FOXTTROT SWING SHAKE HEADBANG BREAKDANSE FALL DEAD FALL DEAD FALL DEAD DON’T YOU FUCKKKING LECTURE ME! … SILENCE FOR FIFTEEN 15 FIFTEEN SECONDS …
The Lecture: Improvised Notes
Katy Diamond Hamer
Without the Structure you pr Political Faliure seemed dest However s u n s o a k e d I squinted and flew away
rovided tined
Images
Images curtesy of Marthe Ramm Fortun and Galerie Jan Dhaese. All assemblages listed below are subjected to change through live performances during the course of the exhibition. 6: La Mode Illustrée/ Floor Piece, The Ace Hotel (2012) Mixed media assemblage, variable dimensions 12: La dame aux camélias (2012) With Sverre Gullesen and Berit Fortun Mixed media assembage, variable dimensions 19: European Market (2012) Mixed media assemblage, variable dimensions 20: Pussy Riot Variations - Chloë Sevigny reading at the Ace Hotel (2012) Mixed media assemblage, variable dimensions 26: The Lecture (2012) Still images from video, Crete, Greece 28: All the King’s Whores Mixed media assemblage, variable dimensions 34: Ruin (for Geir) Mixed media assemblage, variable dimensions 41: I Will Not Pay Mixed media assemblage, variable dimensions
47: The Lecture (2012) Still image from video, Crete, Greece 52: The Lecture (2012) Still image from video, Crete, Greece 55: Cruise Ship Interior (For David Foster Wallace) (2012) Mixed Media assemblage, variable dimensions 57: Wall (1938-1968) Mixed media assemblage, variable dimensions 58: The Night (after Brassaï) Mixed media assemblage, variable dimensions 64: The Lecture (2012) Still image from video, Crete, Greece 70: Flag (2012) C-Print, dimensions A0 72: Le chien fidèle (2012) Mixed Media Assemblage, variable dimensions 74: The Lecture (2012) Still image from video, Crete, Greece 76: Painting for Sappho (2012) Photo copy, dimensions A4 84: Pussy Riot Variations: The Wanderer (2012) Mixed media assemblage, variable dimensions
Thanks To Jan Dhaese and Marijke Dem Anna Peters at NABROAD & R Walpoort, Dimitri Kayiambak Fortun, Lise Leifsdatter TrĂŚl Embassy in Belgium, Norske Vederlagsfond and most of a writer: Nancy Barton, Lotte K Rimanelli, Anders Smebye, S Razdow, Geir Haraldseth, Ka Van Woensel.
Kindly supported by
medts, Audhild Dalstrøm and Rodney Point, Dirk and De kis, Jennie Bringaker, Berit land at the Royal Norwegian e Billedkunstneres all, each and every Konow Lund, David Sonja Engelhardt, Max aty Diamond Hamer and Jan