tag:blogger.com,1999:blog-71261610964743258772024-03-13T21:05:01.602+01:00JohnHoltenJohn Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.comBlogger114125tag:blogger.com,1999:blog-7126161096474325877.post-87896397800322302222017-03-20T14:42:00.001+01:002017-03-20T14:42:21.681+01:00Podcast: Letters To The Editor<iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/310105958&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true"></iframe><div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: #f2f2f2; color: #333333; font-family: Interstate, 'Lucida Grande', 'Lucida Sans Unicode', 'Lucida Sans', Garuda, Verdana, Tahoma, sans-serif; font-size: 14px;">Novelist John Holten joins host Anna M. Szaflarski to read, "The Future of Reading", followed by a conversation on the speculative end to literature and fiction as we know it.</span><br />
<span style="background-color: #f2f2f2; color: #333333; font-family: Interstate, 'Lucida Grande', 'Lucida Sans Unicode', 'Lucida Sans', Garuda, Verdana, Tahoma, sans-serif; font-size: 14px;"><br /></span>
<span style="background-color: #f2f2f2; color: #333333; font-family: Interstate, 'Lucida Grande', 'Lucida Sans Unicode', 'Lucida Sans', Garuda, Verdana, Tahoma, sans-serif; font-size: 14px;"><br /></span></div>John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-42897075048050191322016-04-11T13:10:00.000+02:002016-04-11T13:10:01.058+02:00When The Map Meets The Territory <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://kubaparis.com/lorenzo-sandoval-deep-surface/" target="_blank">Lorenzo Sandoval ‘Deep Surface’</a></h1>
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<a href="http://kubaparis.com/lorenzo-sandoval-deep-surface/" target="_blank">Interventions with Paul Feigelfeld, John Holten, Suza Husse and Deborah Ligorio @ L’Atelier Ksr, Berlin</a></h2>
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<a href="http://kubaparis.com/lorenzo-sandoval-deep-surface/" target="_blank"><time class="updated" datetime="2016-04-11" pubdate="" style="box-sizing: border-box;">11.04.2016</time>, <span class="author" style="box-sizing: border-box;">KubaParis</span></a></div>
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<strong style="box-sizing: border-box;">When The Map Meets The Territory</strong><br style="box-sizing: border-box;" />April 5, 2016<br style="box-sizing: border-box;" />John Holten</div>
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This is going to be fun, the point when we reach land is going to be both bewildering, and a great relief. A dark alleyway late at night in some enigmatic European city, a canal cutting through swamps that have long ago been filled in, reclaimed… Don’t worry, we’ll get there. This is a talk through the exhibition here around us by Lorenzo Sandoval. It is a talk about a story about the exhibition we are currently sitting and standing in, a bit unsteady on our feet.<br style="box-sizing: border-box;" />Stories – indeed literature itself – give us characters. We have to liberate these characters from their own stories. So that they become real, that they experience the personal and don’t just remain the representation of some imagined thoughts their creator once had. I can offer you – and the perspective of <em style="box-sizing: border-box;">you</em> is important, the second-person personal pronoun, both singular and plural – I can offer you just such a possibility of making your imaginary characters real in a few moments. Bear with me.<br style="box-sizing: border-box;" />But first: the map and the territory. The phrase is quite well known and in it I hear so many of my struggles as a writer: surprising perhaps, but you’re just going to have to believe me. Alfred Korzybski gave us the term, he had it in the negative: ‘The map is not the territory’ – yet he conceded, when a map is accurate, they can be useful. What we’re interested with here tonight is when the map <em style="box-sizing: border-box;">meets</em> the territory. What then?</div>
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<img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidr3P1EQUYeh-LKYmzPBwMVtrz4Cvqi98u-ni3cVGJjxphnKtlYX-qRZwJu_vXTa8vE61lKarelM-6NepuAjo8shgdFj_Fpv-vZaC12853fja1nA-uVVFDkjbRbcMdxvDhp2qDriA2ykZy/s1600/IMG_1996.JPG" title="" /><a href="http://kubaparis.com/lorenzo-sandoval-deep-surface/" target="_blank">http://kubaparis.com/lorenzo-sandoval-deep-surface/</a></div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-90481650230890011992016-03-18T18:24:00.001+01:002016-03-18T18:24:25.780+01:00Finding the Erotic at LIDL: Georges Bataille and the Natural World<a href="http://contemporaryfoodlab.com/hungry-world/2016/03/a-parody-of-the-natural-world/#.Vuw5kYm_uX0.blogger">Finding the Erotic at LIDL: Georges Bataille and the Natural World</a><br /><br />
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<span style="background-color: white; font-family: BrandonGrotRegular, Helmet, Freesans, sans-serif; font-size: 12px; letter-spacing: 0.5px; line-height: 24px;">I often have this one particular thought and it usually occurs to me in the checkout of the Lidl around the corner from my office, and the thought kind of goes something like: these fellow shoppers, placing on the checkout conveyer belt all their canned goods, detergent, toilet paper and so on, bright and shiny in plastics and packaging, what are their sex lives made of, how do their bodies appear naked, fornicating, rubbing on top of another body and in turn being rubbed? And this thought leads on to another, somehow logically connected question: what do their bodies smell like, the crevices, the rolls of flesh out of sight thanks to their stone-washed denims, their ersatz tracksuits?</span><br /><iframe width="420" height="315" src="https://www.youtube.com/embed/5XCnGuK8CVc" frameborder="0" allowfullscreen></iframe><br />
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<span style="background-color: white; font-family: BrandonGrotRegular, Helmet, Freesans, sans-serif; font-size: 12px; letter-spacing: 0.5px; line-height: 24px;"><br /></span>John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-18258727816598547122016-03-15T14:01:00.000+01:002016-03-15T14:01:05.051+01:00Tales Told in the Telling<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;">Tales Told in the
Telling: Fictional Strategies <o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;">A Creative Writing
Workshop as Part of the Self-Publishing Archive<o:p></o:p></b></div>
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March 26, 11-17h<o:p></o:p></div>
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Buro BDP<o:p></o:p></div>
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This one-day (somewhat open and experimental) workshop looks
at, reads and potentially initiates fictional strategies as a way to advance
artistic practices and discourse. Not limiting itself to either the domain of
contemporary visual art or literary / poetic fiction, but rather investigating
the intersection, crossovers and contamination of both, the workshop is
comprised of a close reading of selected texts chosen by workshop leader John
Holten. These texts will be made available a week in advance of the session and
hopefully will offer various diverse ways of thinking how fiction both operates
and generates itself, as well as how it has been used to further the practice
of a number of past and contemporary practitioners in a number of media and
fields. <o:p></o:p></div>
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Depending on how the initial session develops there is the
possibility that in the future the workshop will include the reading of
participants’ work and feedback sessions, as well as looking at material ways
of bringing fictional strategies into the world, for instance self publishing
techniques, interventions, performance and filmmaking. <o:p></o:p></div>
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To apply please send a brief biographical paragraph and a
recent example of visual or textual artistic output. Space is limited to a
maximum of 10 participants. A donation of 15/EUR is suggested upon acceptance
to attend the workshop.<o:p></o:p></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">John Holten
co-founded the Berlin art publishing project Broken Dimanche Press in 2009
which published his novel <i style="mso-bidi-font-style: normal;">The Readymades</i>
in 2009 and his follow up, <i style="mso-bidi-font-style: normal;">Oslo, Norway</i>,
in 2015. The LGB Group, a fictitious art group created for <i style="mso-bidi-font-style: normal;">The Readymades</i> (with Darko Dragičević), has enjoyed exhibitions
internationally including The Armory Show, New York. His writing has appeared
in many national and international publications. Holten is also known for his
collaborative art projects and his work has appeared in the Malmö Konsthall,
David Zwirner Gallery New York (with Aengus Woods), Villa Romana, Florence,
Plan B Gallery, Berlin, San Serriffe, Amsterdam amongst others. He lives in
Berlin. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">Reading and viewing
material will centre around three areas:<o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">SHUDDERING INTO
EXISTENCE: <o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">Ed Atkins, <i style="mso-bidi-font-style: normal;">Even Pricks </i>(text)<o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">Ed Atkins, <i style="mso-bidi-font-style: normal;">Even Pricks </i>(video)<o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">Supporting work: Roberto Bolano<i>, Illness + Literature = Illness</i></span><span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">SILLY WHITE MEN AND
THE TALES THEY TELL: <o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">Renzo Marten's <i>Episode
III: Enjoy Poverty</i><o:p></o:p></span></div>
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<i><span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";"> </span></i><span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">Supporting
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">THE ARTWORK AS PULP
NOVEL: <o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">K.D., <i style="mso-bidi-font-style: normal;">Headless</i><o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";"> Supporting work:
The Book Lover's Project (David Maroto and Joanna Zielinska)<o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">APOCOLYPSE NOW: <o:p></o:p></span></div>
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<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">Loretta
Fahrenholz' <i>Ditch Plains </i><o:p></o:p></span></div>
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<i><span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";"> </span></i><span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman";">Supporting
work: Ben Lerner's <i>10:04</i><o:p></o:p></span></div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-88292635688405566402016-02-29T14:46:00.002+01:002016-02-29T14:53:26.151+01:00Out of Radiant in Your +1 Some Berlin-Based International Writing (Gully Havoc)<div dir="ltr" style="text-align: left;" trbidi="on">
I wrote a piece while listening to Ben Frost's Aurora in order to write an advanced press text. I also wrote 'Out of Radiant' a broken short story in the form of these prose islands, recently published in the anthology <i>Your +1: Some Berlin-Based International Writing</i> (Gully Havoc). I also got to travel to Iceland for the recording of the official videos of the album back in November 2013, shot on the same Kodak film as Richard Mosse's The Enclave. Direction and editing was carried out by Trevor Tweeten and Richard Mosse.<br />
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<a href="http://mud%20to%20dance%20on%20the%20question%20where%20to%20find%20redress%20when%20the%20world%20is%20charged%20beyond%20capacity/?%20Time%20cannot%20help%20because%20it%20is%20out%20of%20reach%20so%20all%20you%20have%20is%20this%20memory%20surrounded%20by%20oblivion%20and%20not%20much%20else%20save%20what%20is%20to%20come%20and%20even%20then%20you%20will%20be%20dancing%20unawares.%20A%20screaming%20atavism%20in%20a%20destitute%20future.%20A%20nightclub%20ruin%20where%20people%20congregate%20much%20like%20a%20deranged%20sect%20of%20the%20coming%20millennium%20lit%20up%20with%20talismanic%20glowsticks.%20A%20circle%20cut%20by%20a%20straight%20line,%20an%20ouroboros%20interrupted%20by%20future%20time.%20The%20camera%20tracks%20to%20this%20ruined%20cathedral%20nightclub%20lit%20up%20with%20emergency%20flares%20in%20the%20dark%20of%20night.%20The%20faith%20of%20the%20dancers%20rests%20in%20a%20diesel-%C2%AD%E2%80%90%20powered%20generator%20that%20is%20spewing%20forth%20its%20own%20extinction%20by%20eating%20rancid%20fuel%20so%20loudly%20it%20threatens%20to%20overrun%20the%20music%20it%20is%20powering.%20Darkness%20is%20folded%20into%20the%20muddy%20sedge%20and%20a%20glow%20grows%20over%20all%20the%20filth.%20It%20grows%20and%20grows%20until%20everything%20is%20luminescent%20and%20the%20sky%20fills%20once%20again%20with%20charged%20destruction%20black%20rain%20wiping%20out%20the%20light." target="_blank">Available here</a></div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-9316630777636092722016-01-22T18:41:00.000+01:002016-03-24T21:35:59.092+01:00Interview with Renko Heuer in Lodown Magazine 98<div dir="ltr" style="text-align: left;" trbidi="on">
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<!--StartFragment-->
<br />
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">The Lit Corner: John Holten<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTAE6drKOrurxrNmGpHp9xj_aJzDRD32aNSBx1RyZsOzifRvRARm7ZdynlDBLuj7sguqonXUdLbLXPOcqKZMN-3YhtHMFEKFz7WXxuaVf6JtAB634e9zTuP2CzqNR8rNQYFp4BuuymkY1S/s1600/IMG_1783+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTAE6drKOrurxrNmGpHp9xj_aJzDRD32aNSBx1RyZsOzifRvRARm7ZdynlDBLuj7sguqonXUdLbLXPOcqKZMN-3YhtHMFEKFz7WXxuaVf6JtAB634e9zTuP2CzqNR8rNQYFp4BuuymkY1S/s1600/IMG_1783+1.JPG" /></a></div>
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<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US" style="font-size: 15.0pt; mso-ansi-language: EN-US;">TRUE NORSE<o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<i><span lang="EN-US">“Let us introduce a street. It is dark with figures moving down its
incline. It is in the east of the city and connects neighborhoods. The figures
are returning home, their hands touch each other, entwine. A smile appears in
the dark.” <o:p></o:p></span></i></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">“If this story could occupy a space
other than this page, objects could also help fill the void; how I would like
to tell it with knives and pens and tables, soiled underwear and rusting oil
platforms, the agitated air between my face and my computer screen, how, dear
reader, I would like to throw a urinal at you”: Having blown up the outlines of
the “traditional” novel before with his amazing “The Readymades” debut (2011), Irish-born,
Berlin-based author/publisher/jack-of-all-trades John Holten has returned this
summer with “Oslo, Norway,” his second, significantly shorter and even more
open-ended work that “gets on with things” in other ways: What starts out as a fairly
straightforward story about protagonist William Day’s expat experiences in the
Norwegian capital, his falling in and out of love, soon folds and unfolds into
a proper, self-styled “literary atlas,” (partly inspired by J. Schalansky), a
speculative and shape-shifting map about story-telling itself (including
writer’s block), “stories in space,” with different episodes and sections,
including the map’s Legend at the end. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">The result, again, not only leaves
the page via Holten’s accompanying “Blips” (DIY video/pseudo commercials) but
also leads the protagonist, the book’s author (and “first reader”: John Holten),
and ultimately, us, to other areas by involving Norse mythology, Kafka, </span><span lang="EN-US">Bolaño,</span><span lang="EN-US"> and more, thus raising questions
about the possibilities of novel itself (yes, lovers of metafiction, rejoice!).
Also serving as the second installment of what’s eventually to become his
“Ragnarök” trilogy, we once again caught up with the founder of Broken Dimanche
Press to discuss his various other projects, actual bin collecting in Oslo, and
selfie fiction. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">“What makes William Day real and knowable to
us is the fact that he is moving through space, a coordinate on the map”… now
that you’re currently back on the road, a coordinate on the map, does life
somehow feel more real and knowable – to yourself as well? How’s life been
since we last spoke anyway?<o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">I
think moving is so important to producing work, yet at the same time writing
kind of needs a sedentary time. For fictional characters, their psychology only
really comes to me if I put them in space and have them do things and “Oslo,
Norway” is all about moving through space, both geographically and paginal. I’ve
been thinking a lot about this since last we talked, I’ve spent a lot of time
in Berlin which is both a good and bad thing. I traveled to Democratic Republic
of Congo with Richard Mosse, Trevor Tweeten and Ben Frost to assist on the
making of “The Enclave,” Richard’s work for the Venice Biennale, already two
years ago now. That was an insane creative process to be involved in, and very
good to move off the coordinates of Western Europe. I think I’d love to spend
more time in Africa and Latin America because up until now I’ve been in my
comfort zone a lot.<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">And right now you’re in NYC, right? <o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Yeah,
I’m launching “Oslo, Norway” next week, but also doing a number of events
around town with my sister Katie with whom I finally got around to making a
book with, “About Trees”. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">It’s been four years since “The Readymades”
came out, and ever since you seem to have been involved with so many things, so
many events and releases and such, how much time do you actually dedicate to
writing? What about your practice as a writer, and how has it changed and
evolved over the past five years?<o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Yeah
I can barely finish these questions because I’m constantly jumping online and
moving around my computer’s desktop. My writing has seriously been influenced
by all the working collaborations and publishing work I’ve done over the last
five years. Those and the internet. I really need deadlines now, with “The
Readymades,” and also I guess “Oslo,” I was writing for myself, and nobody
else. Even publishing with BDP is a form of self-publishing which means I have had
even greater freedom. There’s a responsibly there, to see your work through, to
its highest potential. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">I love the fact that “Oslo, Norway” is a
literary atlas of sorts – a map you can enter at any given point. What inspired
this form/format, and did you get lost in your own mappings as you were
creating it?<o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">The
novel, and the printed book, needs to get on with things. With “The Readymades,”
the structure was so elaborate and intricate, the actual end of the book
happened in the middle and the real meaning of the character’s suicide is
easily lost. A lot of people stop reading “The Readymades” after 100 pages. It’s
a hard book to read, for different reasons, and especially if, like a lot of my
readers, English is not your first language. This got me thinking about what
happens to a novel when it isn’t finished. In video art this happens also:
audiences sit for 30 seconds of a video installation in a gallery and then move
on. With Richard’s “The Enclave,” there was a lot talk about having it open
ended and allowing the viewer to move through the space and create their own
edit. It has six screens, and in a way it’s impossible to view all of them all
at the same time. I wanted Oslo to be fundamentally contemporary: people read
mostly on a screen, in a tab: the space of reading has changed, and my novel
had to reflect this. So what better form than a street atlas to give agency to
the reader? You get the picture incrementally, meaning is built up and composed
as you may need it, as the road runs to the edge of the page, so you jump
forward to where it reappears on the next section of the terrain. I tried to
sequence the story and even had an idea that each issue of the book would have
a random ordering of the 52 sections and digitally print them, but ultimately
it’s got these four sections each with 13 episodes, the first three sections
are different sorts of representations (represented in pronominal perspective)
and the last section is the Legend or key, where I give the game away, so to
speak. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">Don’t you think it’s also part of the fun to
be guided by an author, to trust his voice and choices along the numbers on the
bottom of the pages? <o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">For
sure, I love genre and playing with genre. I think both my books can be read
very linearly and I want pleasure to be gained from reading my books. Bolaño
thought me that, and that’s what he did so wonderfully. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">You’d been to Oslo before coming to Berlin,
right? Or did you explore the city more recently? How much time did you
actually spend there vs. how much time did you look at maps later on?<o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Yeah
I’ve been to Oslo a lot, it always felt like a very familiar city. I went back
to record some of the Blips, my tongue in cheek marketing campaign and foray
into making video art. I was going for the whole “they’re so bad they’re good”
kind of thing, which is kind of beside the point. It was just fun to do
them. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">And the actual book, how much of it was
already shaping up while you were there? And when not working on chapters, you
were packing fish and collecting bins?<o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Yeah
I did a lot in Oslo. From the very first day I visited in 2004 to visit my
university buddy, the writer and curator Lars Mørch Finborud, the city has
always offered me new experiences. Radically new experiences, if you know what
I mean. I packed salmon destined for Brazil on the Fillipstad docks, watching
the new Astrup Fearnley Museet being built out into the fjord. I also collected
bins, that’s true. I was too fucking good at it, I realized I was copying the
bin men I’ve always seen and kind of ran fast and jumped a little too eagerly
onto the back of the truck. Totally in line with Sartre’s concept of <i>mauvaise
foi </i>– I was acting in bad faith, acting. I worked with a nice guy, but then
he told me the band he had been in – Norwegian Black Metal has some serious bat
shit history! Oslo is intense, sure it’s expensive, but it’s also at base a
port town, Norwegians travel, and people travel to Norway – it’s a very open
and progressive place.<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">“Words, that is, writing. If I could I would
do without.” Really? And are there moments when you can, things you do that
make you feel that way?<o:p></o:p></span></b></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Yeah
sure, make art. With “The Readymades” Darko and I collaborated on bringing the
fiction into galleries, bookshops and ultimately even The Armory Show in NYC.
The LGB Group have had a very successful art career! It’s the same with the
Blips. And the drawings. It gets back to space, putting things in space, even
characters as well as myself, as I said before. Movement helps.<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">Still,
do you feel like an author first – or more like an artist who happens to be
writing and publishing some good ol’ books?</span></b><span lang="EN-US"><o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Yes I
am a novelist first and foremost, I feel that has always been my goal: to write
books, novels. But I don’t see the great need to distinguish between “artist”
and everything else. I’m an artist, like everyone else<b>.</b><o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">Was
it easy to see where the dividing line between novel as “on-going fictitious
event” and personal life needed to be drawn?</span></b><span lang="EN-US"><o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">With “The
Readymades” we certainly got ourselves tangled up in what was real and what was
made up, Darko and I had moments of peculiar, full-blown confusion and I liked
that. The ghost of Djordje Bojic is very present when I look back at the “Readymades”
project. For “Oslo,” I wanted to reverse the fiction, and really I started with
myself and let the event take it where it had to go. But could a novel affect
my real life? I think writing it could, and I talk about that in the novel. It’s
an intriguing result: to document reality you have to leave it behind and
create something out of nothing, only to in turn see reality presented
anew. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">What
did you learn about publishing and especially self-publishing since starting
BDP and launching pt. 1 of the Ragnarök trilogy, “The Readymades”? </span></b><span lang="EN-US"><o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">I
guess I have learned an incredible amount. I also find this a hard question to
answer. There are technical things about publishing that aren’t all that
interesting. I’ve learned that I prefer being an artist and writer before being
a publisher mainly because I think with publishing comes a large responsibility
and to split that with the responsibility I have toward my own art is a huge,
sometimes overwhelming, challenge. But I’ve learned also that self-publishing
works, it’s worth doing what you need to do in order to get your work to its
audience. It’s a brilliant time for art publishing. I’ve just spent three weeks
in NYC and the coolest thing I saw was the New York Art Book Fair in MOMA PS1!<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">And
so you’re currently working on part three of that trilogy? Is it really going
to be a Berlin utopia? And what about your relationship to the no. </span></b><b><span lang="EN-US">3?</span></b><span lang="EN-US"><o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">I
haven’t really even started. I need to clear up my publishing duties and get down
to the writing. It starts with a lot of reading and research and generally just
dreaming stuff up. It’s going to be dense, I want it to be a large canvas after
the exactitude of “Oslo”. It may deal with evil and train networks. <o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US">One
other thing: Do you think the return of meta-fictional elements (if they were
ever really gone) is something we should now call “selfie fiction”?</span></b><span lang="EN-US"><o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">I
think the word selfie is kind of considered fickle somehow, I’m not sure there
is a lot of respect given to the word. We are in an age in which we kind of
revel in our narcissism, and I think it’s important for artists to get their
vanity in place. A lot of bad art is given to the world because the artist is
trying to be coy about their vanity and narcissism – auto fiction is a good
enough term. I think selfie fiction could definitely be used to describe a lot
of Instagram accounts.<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Words/interview:
Renko Heuer<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">John
Holten / “Oslo, Norway” / novel / Broken Dimanche Press<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">brokendimanche.eu
<o:p></o:p></span></div>
<div class="Mine" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<!--EndFragment--></div>
John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-78032244710606204312015-12-21T00:12:00.003+01:002015-12-21T00:12:59.073+01:00Review of Oslo, Norway in Structo <div dir="ltr" style="text-align: left;" trbidi="on">
<blockquote class="tr_bq">
<em style="background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #666666; font-family: 'Open Sans', Arial, sans-serif; font-size: 14px; line-height: 28px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Oslo, Norway,</em><span style="background-color: white; color: #666666; font-family: 'Open Sans', Arial, sans-serif; font-size: 14px; line-height: 28px;"> the second in Holten’s Ragnarok trilogy that began with the widely acclaimed </span><em style="background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #666666; font-family: 'Open Sans', Arial, sans-serif; font-size: 14px; line-height: 28px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Readymades</em><span style="background-color: white; color: #666666; font-family: 'Open Sans', Arial, sans-serif; font-size: 14px; line-height: 28px;">, cleverly gathers romance, cartography and Nordic myth in a meta-fictional retelling or interpretation of the streets of the eponymous capital. A self-aware tale of love and the fictions that are told in the process of it, the novel will be enjoyed by readers of Bolaño, Cortázar and Calvino and should be attempted by others...<a href="http://structomagazine.co.uk/review-oslo-norway-by-john-holten/"> Continue reading here.</a></span></blockquote>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-60341546558519790522015-12-20T23:58:00.003+01:002015-12-21T00:08:20.791+01:00The Pulse of Words Evaporate, 2015, tape on wall, dimensions variable.<div dir="ltr" style="text-align: left;" trbidi="on">
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-29818086247006231852015-11-18T11:03:00.002+01:002015-11-18T11:03:34.218+01:00Sans Serriffe, Amsterdam<div dir="ltr" style="text-align: left;" trbidi="on">
<a aria-controls="ui-id-2" aria-expanded="true" aria-selected="true" class="event-past ui-accordion-header ui-state-default ui-accordion-icons ui-accordion-header-active ui-state-active ui-corner-top" href="http://www.san-serriffe.com/#" id="ui-id-1" role="tab" style="-webkit-font-smoothing: antialiased; background: rgb(255, 255, 0); box-sizing: border-box; color: blue; display: block; font-family: Courier, monospace; font-size: 19.2px; line-height: 23.04px; margin: 0px; overflow: hidden; padding: 0px; text-overflow: ellipsis; text-rendering: optimizeLegibility; vertical-align: baseline;" tabindex="0">16.11.2015 John Holten reads from OSLO, NORWAY</a><br />
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13:00—14:00</div>
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<img alt="31uG5bcD+LL._SX317_BO1,204,203,200_" class="attachment-thumbnail wp-post-image" height="391" src="http://www.san-serriffe.com/events/wp-content/uploads/2015/11/31uG5bcD-LL._SX317_BO1204203200_-e1447678626355.jpg" style="-webkit-font-smoothing: antialiased; background: transparent; border: 0px; box-sizing: border-box; display: block; font-size: 19.2px; margin: 1em auto; max-width: 100%; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;" width="250" /><div style="-webkit-font-smoothing: antialiased; background: transparent; border: 0px; box-sizing: border-box; font-size: 19.2px; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">
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John Holten published his first novel The Readymades in 2011 (with artwork by Darko Dragicevic). The art group he created in the novel, The LGB Group, enjoyed exhibitions in many cities as well as being included in The Armory Show, New York in 2012.</div>
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Oslo, Norway is his second novel and is an intriguing story of love and loss that begins in the affluent and rapidly growing city of Oslo, Norway. It follows the story of William Day, an economic migrant who moves to the city to work as a mechanical engineer before chance thrusts him into the alluring world of Sybille and her artist friend Camille. As they do their best to reconcile growing differences in personality and culture, Camille’s growing influence over S<span class="text_exposed_show" style="-webkit-font-smoothing: antialiased; background: transparent; border: 0px; box-sizing: border-box; font-size: 19.2px; margin: 0px; padding: 0px; text-rendering: optimizeLegibility; vertical-align: baseline;">ybille threatens the relationship, before her dangerous friends in the Oslo underworld finally undo William’s search for stability. This sets William – and the reader – in the direction of the novel’s horizon, which is set outside of historical time and space, taking in the history of oil exploration, Norse mythology, coronal mass ejections and post-apocalyptic landscapes. </span></div>
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As well as working as an editor, John Holten has written collaborative texts for a number of artists and his writing has appeared in numerous publications. His work has appeared in many international contemporary art settings such as Malmö konsthall, The White Building London, David Zwirner Gallery New York (with Aengus Woods), NGBK and Agora, Berlin and Villa Romana, Florence amongst others. His video commercials for Oslo, Norway have been exhibited in Plan B Gallery and Team Titanic, Berlin, Extrapool, Nijmegen and Thyssen-Bornemisza Art Contemporary, Vienna.</div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-53038206288035113872015-08-18T11:31:00.003+02:002015-08-18T11:31:42.485+02:00A Soft Tragedy<div dir="ltr" style="text-align: left;" trbidi="on">
<br /><blockquote class="instagram-media" data-instgrm-captioned data-instgrm-version="4" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;"></div></div> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://instagram.com/p/6gDCGPOM2x/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_top">#ASoftTragedy #latergram #kinderhookcaracas #projectspacefestival #OlgaBalema #PatrickBurkhardt #PieterJanGrandry #EthanHayesChute #JohnHolten #MirakJamal #ValentinaKarga #HanneLippard #DafnaMaimon #MichelleDiMenna #AntoineRenard #SantiagoTaccetti #ClémencedeLaTourduPin #AlexTurgeon #ElviaWilk pict by @ehc2000</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A photo posted by Lorenzo Sandoval (@lorenzo__sandoval) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2015-08-17T22:10:05+00:00">Aug 17, 2015 at 3:10pm PDT</time></p></div></blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script></div>John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-39635545733158761222015-04-15T18:38:00.001+02:002015-04-15T18:38:39.374+02:00Exhibition and Book Launch: Oslo, Norway<div dir="ltr" style="text-align: left;" trbidi="on">
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<h1 class="eventlist-title" style="color: #222222; font-family: proxima-nova; font-size: 28px !important; font-weight: 300; letter-spacing: 1px; line-height: 1.2em !important; margin: 0px 0px 17px !important; padding: 0px !important;">
<a class="eventlist-title-link" href="http://www.brokendimanche.eu/exhibition/2015/4/25/oslo-norway-exhibition-and-book-launch" style="font-size: inherit !important; line-height: inherit !important; margin: 0px !important; padding: 0px !important; text-decoration: none !important;">Oslo, Norway: Exhibition and Book Launch</a></h1>
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<li class="eventlist-meta-item eventlist-meta-date event-meta-item" style="margin: 0px; padding: 0px; text-align: left;"><time class="event-date" datetime="2015-04-25">Saturday, April 25, 2015</time></li>
<li class="eventlist-meta-item eventlist-meta-time event-meta-item" style="margin: 0px; padding: 0px; text-align: left;"><span class="event-time-12hr"><time class="event-time-12hr-start" datetime="2015-04-25">3:00pm</time> <span class="event-datetime-divider"></span> <time class="event-time-12hr-end" datetime="2015-04-25">10:00pm</time></span></li>
<li class="eventlist-meta-item eventlist-meta-address event-meta-item" style="margin: 0px; padding: 0px; text-align: left;">Büro BDP <a class="eventlist-meta-address-maplink" href="http://maps.google.com/?q=1%20Mareschstra%C3%9Fe%20Berlin,%20Berlin,%2012055%20Germany" style="color: #111111; text-decoration: none;" target="_blank"></a></li>
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In November 2011 Darko Dragičević and John Holten carried out ‘It’ s Already A Success!’, a weeklong reading of the entire novel The Readymades as part of an exhibition by The LGB Group at the legendary Gallery D.O.R. in Brussels. For the first international release of his follow up novel, Oslo, Norway, Holten will once more read a novel in full. Echoing not only the earlier performance, but also contemporary writer Travis Jeppeson, who has read his novel The Suiciders in full at various venues, the performance posits a total exposure of the literary work, allowing the audience to come and go, converse and drink a glass of wine over a period of several hours for durations of their choosing. This is not so much a comment on the contested audience expectation for free content, but an investigation into new modes of attention and readership, how one can go about performing a novel, as well as subverting the social expectations of a traditional book launch.<br /><br />Alongside the reading will be a screening of ‘Blips’, a series of pseudo commercials Holten produced and screened over the last two years. These have been screened individually in Thyssen-Bornemisza Art Contemporary, Vienna, (Blip # 4); Extrapool, Nijmegan (Blip#3); Team Titanic, Berlin (Blip # 2) and Galerie Plan B, Berlin (Blip# 1). These will be slowed down to approach the length of the reading, a mixture of footage from Oslo and extracts from the novel, they counteract and draw out what the audience may or may not hear depending on the length they listen.<br /><br />Oslo, Norway takes the form of a literary atlas, telling its stories over 39 sections titled after streets and places around Oslo and its environs. These are included at the beginning of each of the three sections of the book and the original drawings will also be on display, along with other totem like iterations of the book. In line with Holten’s practice, all aspects of the book and its creation are presented over the course of the performance and exhibition heralding, as does the form of the novel, a new mode of reading, one that is inherently based on life online and how the majority of textual matter is now read, bringing that into an offline, durational and haptic literary experience.<br /><br />John Holten is a writer and artist as well as a publisher. Born in 1984 in Ireland, he studied at University College Dublin and the Sorbonne-Paris IV before obtaining an MPhil from Trinity College Dublin. In 2011 he published his first novel The Readymades to great acclaim, and the art group he created in the novel (with Darko Dragičević), The LGB Group, enjoyed exhibitions in many cities as well as being included in The Armory Show, New York in 2012. Known for his collaborative projects, Holten has written for many artists such as Natalie Czech, Mahony, Darri Lorenzen and Jani Ruscica, often working closely with them to produce immersive or participatory texts. His work has appeared in many international contemporary art settings such as Malmö konsthall, The White Building London, David Zwirner Gallery New York (with Aengus Woods), NGBK and Agora, Berlin and Villa Romana, Florence amongst others. Having co-founded Broken Dimanche Press as an international art press in 2009, he has overseen as Editor-In-Chief more than thirty publications and attendant exhibitions, projects and public events. In 2012 he travelled to the Congo with artist Richard Mosse for whom he edited A Supplement to The Enclave as part of Mosse’s 2014 Deutsche Börse Photography Prize winning exhibition in London. In 2011 he received a Literature Bursary from the Arts Council of Ireland.</div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-2192785582388862432015-03-30T11:37:00.004+02:002015-03-30T11:37:52.948+02:00Oslo, Norway<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.brokendimanche.eu/new-index-2/#/oslo-norway-2/"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggHcXhBT_DwuiD-wAcJG6Inw4LztyE73zDRYtmq93wvE_kqah8h24oUaVwNnSF1Wv2-vNabpYsW3ihdZY1xXo2uR2ihYSluzaH8AHimi4VBJ-QBcEMLk8GYZyv65bW-7j9gF4TUqTiJ08f/s1600/Oslo,+Norway%E2%80%93Media+Kit_Page_01.jpg" height="285" title="" width="400" /></a><span id="goog_2101615990"></span><span id="goog_2101615991"></span><a href="https://www.blogger.com/"></a></div>
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It's been a while in the making, but finally my next book 'Oslo, Norway' is due for release next month. In celebratory anticipation and to help cover the costs toward remaining production processes, BDP are offering 100 signed copies for pre-sale over the next three weeks, with free shipping. It's a curious little book, three years of toil and inspiration have been condensed into its merry words and obtuse declarations and now I'm really looking forward to it finding a reading audience. Your support means everything.</div>
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/This is not a crowd funding campaign/</div>
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<a href="http://www.brokendimanche.eu/new-index-2/#/oslo-norway-2/">More info</a></div>
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Please email me for a Media Kit/Review copy</div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-68278335775350317282014-12-22T15:32:00.000+01:002014-12-22T15:34:46.476+01:00Oslo, Norway: Four Blips<div dir="ltr" style="text-align: left;" trbidi="on">
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Commercial Broadcasts:<br />
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Blip # 4: Thyssen-Bornemisza Art Contemporary, Vienna, 05.08.2014<br />
Blip # 3: Extrapool, Nijmegan, 16.03.2014<br />
Blip # 2: Team Titanic, Berlin 29.-30.11.2013<br />
Blip # 1: Galerie Plan B, Berlin 28-30.08.2013
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-40363011618999226662014-09-18T12:08:00.002+02:002014-09-18T12:28:38.050+02:00 Presentation of the collaboration between Natalie Czech and author John Holten - OPEN STUDIOS | Saturday, Septembre 6, 2014, 5 pm until midnight Villa Romana<div dir="ltr" style="text-align: left;" trbidi="on">
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-78922450555860805822014-04-21T11:55:00.002+02:002014-05-14T16:04:02.688+02:00In Lieu of an Editorial: Newspapers, the Infra-Ordinary & The Enclave<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I’m a novelist
whose pastime is art, which as distractions go, and novelists can be extreme aficionados
of distraction, threatens often to overrun my writing time completely to the
point where often I feel I should just call myself an artist and be done with
it. When I was writing my first novel I distracted myself by making books with
other people: I became an editor and co-started with Line Madsen Simenstad, a
Norwegian journalist, Broken Dimanche Press, a self-avowed avant-garde platform that would publish
literary books by artists and visual books by writers. We would be political –
a tongue in cheek social democratic stance prevailed – and be European wide in
outlook. We called the endeavour after Yves Klein and his
one day newspaper – <i style="mso-bidi-font-style: normal;">Dimanche</i> – that
appeared on newsstands throughout Paris on </span><span lang="EN-GB" style="background: white; color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Sunday 27 November 1960, a beautiful constellation of conceptual and performance art
intervention and design, all wrapped up in the form of the humble throwaway
newspaper. Our plan was to make newspapers and celebrate the Everyday through
ludic, artistic and academic interventions in this most commonplace of
publications.<o:p></o:p></span></div>
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<span style="font-size: x-small;">Dimanche, Yves Klein, newspaper cover. </span></div>
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<span style="font-size: x-small;">Source: Wikipedia</span></div>
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<span lang="EN-GB" style="background: white; color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span lang="EN-GB" style="background: white; color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BDP started with a
journal <i style="mso-bidi-font-style: normal;">The Kakofonie</i>, but that
quickly started to take different forms (a PDF download, a poster, a video
selection, a bookmark etc) but never a newspaper. Next came our first book: an
anthology <i style="mso-bidi-font-style: normal;">You Are Here</i>. We found
kindred spirits in the designers FUK. We won the Charlemagne Prize. We made many books with some great artists and
writers. Exhibitions. Projects. Tours. Readings. But five years later and we had
yet to make a newspaper.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">*<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In September 2012 I was in Milan putting on an exhibition of LGB art
derived from that novel I finally managed to finish in between distractions, <i style="mso-bidi-font-style: normal;">The Readymades</i>, when I got a phone call from Richard Mosse. He was
in Denver, I think he said, just off a plane and had been reading my novel when
the idea came to him that maybe I could travel with him to the Congo when he
was making <i style="mso-bidi-font-style: normal;">The Enclave</i>. I could try
and do something similar to <i style="mso-bidi-font-style: normal;">The
Readymades</i> – use found material, witness testimonies to war crimes, art
historical intrigue and gossip – to compliment the fictive landscape as
portrayed in his <i style="mso-bidi-font-style: normal;">Infra</i> series. I
could help him make his catalogue, his book, something beyond the pale. I said
yes, sure thing. Three weeks later I was with him carting beer coolers full of
expired infrared film through airports and up and down mountains. We arrived
into Goma sometime passed midnight, the streets eerily deserted; even to me who
was there for the first time, it was clear that the town was under curfew, in
lockdown because of recent grenade attacks and the proximity of the rebel group
the M23’s enclave. There was a UN battalion in heavy armoured vehicles. Gun
towers along every fence. The roads where barely what you could call roads, made
mountainous from the lava from the Nyiragongo volcano, glowing red in the
background. The place suffered a kind of doom laden inevitability that kept me from
asking myself what I was doing there and now two years later, thinking about this first entry into Congo exhausted from 15 hours of travel, I’m left thinking
how funny the places are to which the creation of books can bring you.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">*<o:p></o:p></span></div>
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<span lang="EN-GB" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">I don’t really know why I’m drawn to this unit we can call the day, the
Everyday, and which the newspaper is the representative form. The newspaper is
a durational publication and yet it has a stake in history, its details make up
the small details that become building blocks to historiography. Our lives are made up of the day and everyday
routines are what ground us to this earth and yet they slip away, get lost so
easily: what must it take for you to remember this day in ten year’s time?
Borges’ unfortunate Funes, a character I think of often, has a memory of a
recall scale 1:1: he takes a whole day just to pass over the memory of one day.
A heavy burden and yet so much art and literature chase exactly this burden, to
remember, to recall, to dwell and resurrect from the tides of amnesia crashing
against the defenseless shores of anamnesis. In <i style="color: black;">The Readymades</i> I invented an art collective, a roaming group of
artists called The LGB Group – who have adopted their own reality and have
embraced the world with a modicum of success – and their interest, what they
strove to exalt in their art was this thing, unit, aspect of life, that they
called the Everyday.<o:p></o:p></span></div>
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<span style="font-size: x-small;">Richard Mosse climbs a mountain on the Rwandan-Congolese border, </span></div>
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<span style="font-size: x-small;">October 2012. Photograph: John Holten</span></div>
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<span lang="EN-GB" style="background: white; color: black; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In <i style="mso-bidi-font-style: normal;">A Supplement to The Enclave</i> it becomes fascinating to read the
conversations between Mosse and his collaborators, even to me who knows all
three well and was there for much of the recording and events discussed. One
fascinating part of these conversations is how one sequence of <i style="mso-bidi-font-style: normal;">The Enclave</i> toward the end is referred
to in both conversations, indeed Ben Frost says it may be his favourite at one
point, while Mosse states that it could be ‘</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">the crux of the piece’. It’s a complicated
scene of disjunction, the soundtrack is made up of a loud hammering and arguing
voices, a fast rhythm grows: it seems it’s made up of the very disparate
elements that make up the chaotic thing that is life. When I was there we
developed the idea of luring the viewer into the enclave with long panning
shots that would lead the spectator into new spaces. And what does the viewer
find when they enter this space? During their first two trips together in the
Congo, Mosse and Tweeten had developed a method in which they worked with the
present participle verbs of the world of eastern Congo that they encountered,
and in so doing they hoped to capture a diurnal impression – such a word seems
strangely inadequate – of this land and its people suffering an on-going,
shifting war and who are almost incapacitated by a western infrastructure of
well meaning NGOs and the UN’s biggest peacekeeping mission. To shelter, to
move, to give birth, to die, to bury, to eat. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="color: #ff0066; mso-ansi-language: EN-GB;">Mosse: </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A very complicated scene.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="color: #ff0066; mso-ansi-language: EN-GB;">Tweeten: </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">To me, I love that scene, because it’s<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">the most chaotic.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="color: #ff0066; mso-ansi-language: EN-GB;">Mosse: </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">It’s a complete disjunction with the<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">previous scene.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="color: #ff0066; mso-ansi-language: EN-GB;">Tweeten: </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I love it because it’s the real version.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">There are these different versions of violence<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">throughout the piece: there’s the<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">simulation of violence, there’s the sound<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">of violence, there’s the visual aftermath<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">of violence, but then there’s also this moment
of </span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">violence which is the lives these people </span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">(the refugees and IDPs) are forced<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">to live which means having to move all<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">the time to escape war. Which is being<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">born into these conditions. Which is eating<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">food on the go, lacking resources and<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">access to education. these sort of things<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">which go into making a violent sort of
existence,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">violent in terms of the everyday<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">struggle to survive. And to me the chaos<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">of that whole scene – there are all these<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">things going on from daily life, birth,<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">death, eating food – perhaps it’s cliché<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">but at the same time I think it’s really
interesting<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">because it’s so disjointed.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">It’s very
hard to capture a place, any place whether it’s familiar territory or another
continent, this is the challenge laid down by realism. There are layers, many
layers to be peeled back, starting with oneself and your own blinkers that you
may not even be aware exist. Georges Perec was aware of this when he tried to
explore himself and his surroundings by examining what he called the
infra-ordinary: literature doesn’t need to worry about the grand themes of a
Hegelian <i style="mso-bidi-font-style: normal;">geist</i> moving ineluctably
toward its own concrete manifestation, played out in characters and environments
woefully predetermined. Rather the ordinary give and take of the everyday holds
worlds entire and reading Perec you realise this. Just as in Joyce, who set an
entire episode of <i>Ulysses</i> in an newspaper office and whose modern day Ulysses
is a newspaper adman, we find that the unit of the day is chosen as the form to
fit the universal into, made up of all those tidbits of throwaway life. I spent a lot of
time with Mosse wondering what the literary equivalent could be to his infrared
photographs. One possible suggestion could be Perec’s infra-ordinary, all that
is opposite to the <i style="mso-bidi-font-style: normal;">extraordinary</i>. One
night after many Tembo beers I started to discuss this with Mosse out on a
mosquito plagued terrace on the shores of lake Goma. Mosse uses beauty and
reaches toward the sublime, yet <i style="mso-bidi-font-style: normal;">The
Enclave</i> is composed pretty much of everyday stuff, it may not be his
everyday or even his everyday when in the Congo, but having been there with
him, running behind Tweeten as he entered into these spaces with the Steadicam,
I can attest that it’s run of the mill stuff, even the shocking scenarios, or
those that come out in the art gallery as extraordinary; even soldiers and their maneuvers,
strutting with guns is normalised (sadly a lot of men join the army or rebel
groups just to gain a gun and what that offers them), and even, sadly for that
matter, invading a town (around six weeks after my wearied midnight arrival into Goma, the M23 invaded the town which Mosse captured in film). It’s not
staged, or even extraordinary, it’s the opposite: terribly mundane, a murderous
mundanity in some cases, and Mosse captured it with his tools of choice, an
infra red film that sought to look below surfaces, of the visible spectrum of
light and the surface of our own expectations of what the journalistic everyday
should be. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">You could say one goes to the Congo to fail, in
a way, which sounds like an indictment, but I’m not talking about the
honourable intentions of charity workers, peacekeepers, journalists (and one
thing I noticed very quickly was a strange form of possessiveness over Congo
and its troubles, more than just a concerted interest). The non-Congolese there
all had an opinion and were very proud of the place, in a kind of displaced,
paternalistic way which was somehow unsettling and which comes up often in
people who have spent time there when responding to Mosse’s work. I failed in one aspect of what I went to the Congo to do, but I
also think I will return to finish that aspect of writing a fiction borne out
of the place. Like Tweeten talks about how he had to return, twice, thrice, in
order to find a working method that was in tune to how the place works and what
it means to go there and make work in it. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">What then of editing a newspaper out of Mosse’s
work set in the Congo? It feels, having travelled there with him and Ben and
Trevor, working with his fixers and drivers, negotiating with the rebels captured in his film, making some very good friends as well as battling with the all that the place propositioned, this form matches the dream I’ve cosseted
since I started to work with artists. Working with Mosse, Tweeten and Frost has been a truly unique experience, a game changing experience in the creation of an artwork. After five years and many books and
exhibitions, as well as a trip to the Congo, I’m very happy that I finally made
what I hope is the first of many newspapers. <o:p></o:p></span></div>
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<span style="font-size: x-small;">A Supplement to The Enclave by Richard Mosse. Photograph: FUK Graphic Design</span></div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-49487825601190914522014-04-19T09:44:00.001+02:002014-04-19T09:44:25.054+02:00The She The Same by Dafna Maimon<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;"><br /></span>
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;"><br /></span>
<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">>> PERFORMANCE DAY</span><br />
<br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Dafna Maimon</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">"The She The Same" [Nominated for the Berlin Art Prize 2014]</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">8th April, 2014 (Tuesday), 6 pm</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Sala Widowiskowa, Laboratory CCA</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Curator: Katia Krupennikova</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Coordination: Paulina Kowalczyk</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">'The She The Same' is a part of a bigger homonymous project consisting of a short film, performance, and paintings in which the experience of our “true other” is set parallel to phantom limb pain. By looking back at mythologies in which each human was once separated from his or her “other half” in the beginning of times, this “lost other” could be considered to be a phantom limb or body. This research project, developed with the help of a neuro scientist, explores the way in which we construct our own bodies and those of our lovers. How does the perception of these constructed "bodies" manifest in reality and affect our psychology even after their disappearance? Simultaneously the idea of a double body or our true other half is a convenient tool for the production of expectation, desire and the romantic industries (i.e. the capitalist ventures that profit from societal construct of romance and love).</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Finnish/Israeli Artist Dafna Maimon b.1982 works with video, performance and sculpture. Her work explores human dramas through constructed autobiographical characters that battle with the configuration of individuality, alienation and the perception of reality. Her projects showcase the economy of close personal ties as well as materialize through them, placing value on the idea of community on a grassroots level. Equally central within Maimon’s practice is the research and employment of the constructs of cultural artifacts such as cinema, theater and science.</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Dafna Maimon holds a BA from the Gerrit Rietveld Academy, and an MFA from The Sandberg Institute. She has been a resident at Lower Manhattan Cultural Council New York, Skowhegan School of Painting and Sculpture Maine and is a future resident of IASPIS Stockholm 2014. Maimon has shown her work internationally in venues such as PS1 Moma New York, Kunst-Werke Berlin, Moscow Museum of Modern Art, Based in Berlin, W139 Amsterdam, Annie Wharton Gallery Los Angeles and Project Native Informant London. Maimon currently lives and works in Berlin.</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Lisa Marie Becker was was born in Siegen, Germany and studied acting at European Theaterinstitute Berlin. Since then she took part in several theater productions, such as Germania.Tod in Berlin which was directed by Patrick Schimanski at Concordia Theater Bremen and Christoph Schlingensief's Eine KIrche der Angst vor dem Fremden in mir at Haus der Berliner Festspiele as well as Keren Cytter‘s I Eat Pickles At Your Funeral which was shown at HAU Berlin and Images Festival Toronto.</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">She has had several appearances in independent flm productions, TV series and works as a voice actress. Lisa Marie Becker lives and works in Berlin.</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">John Holten's (b.1984, Dublin) novel The Readymades was published in 2011. He has performed or given talks in many venues including David Zwirner Gallery New York (with Aengus Woods), NGBK and Humboldt University Berlin. In 2011 he received a Literature Bursary from the Irish Arts Council. His video commercials for his forthcoming novel Oslo, Norway have been exhibited in Plan B Gallery, Team Titanic, Berlin and Extrapool, Nijmegen. He is the co-founder and editor-in-chief of Broken Dimanche Press.</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">Jakub Falkowski graduated acting at Theater Acedemy in Krakow in 2007. He continued studies at the Academy of Fine Arts - Intermedia Dept. and and Stage Directing at Theater Academy, as well as Religion Studies at Jagiellonian University. Since then he works as an actor, video-projections maker, performer, stage designer, coach and group workshop leader. Recently working on bodymind issues, conscious movement and art of presence (Art of Presence Project). Influenced much by working with Robert Wilson. Art and peace lover.</span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">The performance is made possible with kind support of </span><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">the Arts Promotion Centre Finland / Finnish National Arts Council</span><a href="http://www.taike.fi/en/about-us" rel="nofollow nofollow" style="background-color: white; color: #3b5998; cursor: pointer; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px; text-decoration: none;" target="_blank">http://www.taike.fi/en/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>about-us</a><br style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;" /><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px;">and Anna Stelmaszczyk / Art Engineers </span><a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.artengineers.org%2F&h=oAQE6VuOJ&enc=AZPXl9TV_KtWZcCSj3L2LMkg0DxT4AjoCY6QLDWiMPdgVAWhkZhZLQya6IWTqk7tkn8&s=1" rel="nofollow nofollow" style="background-color: white; color: #3b5998; cursor: pointer; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.63636302947998px; line-height: 16.290908813476563px; text-decoration: none;" target="_blank">www.artengineers.org</a></div>
John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-7071866980536418912014-03-20T14:46:00.001+01:002014-03-20T14:46:27.310+01:00A House With Doors and Windows - publication<div dir="ltr" style="text-align: left;" trbidi="on">
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-70983711150209496902014-01-26T22:45:00.002+01:002014-01-26T22:46:03.007+01:00Fight: Center - Sandra Mujinga, Mark Soo & John Holten<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background: white; font-family: Helvetica; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Center<o:p></o:p></span></div>
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<span style="background: white; font-family: Helvetica; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Kurfürstenstrasse
174<o:p></o:p></span></div>
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<span style="background: white; font-family: Helvetica; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">10785 Berlin</span><span style="font-family: Helvetica; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<a href="http://www.center-berlin.com/"><span style="color: windowtext; font-family: Helvetica; text-decoration: none; text-underline: none;">www.center-berlin.com</span></a><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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<span style="font-family: Helvetica;">send@coeval.gen.in<o:p></o:p></span></div>
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<span style="background: white; font-family: Helvetica; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">24.01.14 <o:p></o:p></span></div>
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<span style="background: white; font-family: Helvetica; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Sandra Mujinga, Mark Soo</span><span style="font-family: Helvetica; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /><span style="background: white;">John Holten</span></span><span style="font-family: Helvetica; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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A Recipe (Found Upon Falling Asleep,
Remixed) <o:p></o:p></div>
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It was a lone tree burning on the dessert. A heraldic tree
that the passing storm had left afire. The solitary pilgrim drawn up before it
had traveled far to be here and he knelt in the hot sand and held his numbed
hands out while all about in that circle attended companies of lesser
auxiliaries routed forth into the inordinate day, small owls that crouched
silently and stood from foot to foot and tarantulas and solpugas and
vinegarroons and the vicious mygale spiders and bearded lizards with mouths
black as a chowdog’s, deadly to man, and the little desert basilisks that jet
blood from their eyes and the small sandvipers like seemly gods, silent and the
same, in Jeda, in Babylon. A constellation of ignited eyes that edged the ring
of light all bound in a precarious truce before this torch whose brightness had
set back the stars in their sockets. <o:p></o:p></div>
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Tina lives in Berlin. Her voice so seldom on my machine, is
here tonight. And I’m on the market and when I’m on the market words move
faster. Wire and clouds move thin between us like a skin. Like a salty skin of
a seed. A fat circle. A smiling, smiling, her voice so intentionally smiling and
a cloud between us. And these are my intentions:<o:p></o:p></div>
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Always the same unchanging upon waking up with someone I still love in my bed.
I proceed to the pantry for whatever meager victuals are at hand. The recipe is
a variation of one two or three eggs beaten strongly with a sore hand some
dijon mustard salt and pepper perhaps a dash of water or cream and a grate or
two of parmesan and then some lardons fried on a smidge of butter and into the
worn skillet with it all. Some slices of emmenthal and a destitute salad with
olive oil and balsamic and basil leaves to cover all. This is what you get and
what speaks from the dessert of sleep to nudge you awake.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Our love we share. I may be your everything. Yeah I still
care, our love we share, you may be mine. It seems that it may get worse: I
thought that I would remain the same. It gets worse again and again.<o:p></o:p></div>
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When the sun rose he was asleep under the smoldering
skeleton of a blackened scrog.<o:p></o:p></div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-55023957241494152032013-10-21T17:15:00.001+02:002013-10-21T17:15:23.115+02:00Marketing<div dir="ltr" style="text-align: left;" trbidi="on">
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Preview screening of the expanded version of the commercial trailer with a reading as part of the exhibition languageleaps at Galeria Plan B, curated by Adriana Blidaru.</div>
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<tr class="_51mx"><td class="_51m- vTop _51mw"><br class="Apple-interchange-newline" />GALERIA PLAN B<br />Potsdamer Strasse 77-87, 2. HH<br />10785 Berlin<br /><br />languageleaps<br />Opening: 28. August, 19 h<br />28th - 31st of August<br /><br />An exhibition with:<br />John Holten, Saskia Noor Van Imhoff, Calla Henkel and Max Pitergoff, Matei Cioata, Hanne Lippard Lorenzo Sandoval, Marius Engh.<br /><br />Readings by:<br />John Holten at 20 h<br />Hanne Lippard at 21 h<br /><br /><div style="font-size: 15.555556297302246px; margin-bottom: 6px; text-align: justify;">
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<b>Blips: Oslo Norway, an Aside</b></div>
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My next novel will be called <i>Oslo, Norway </i>and it is the second installment in a three-part roman-fleuve called Ragnarök. When drafting this novel I began to imagine it in the hands of an unseen audience, a fictive future readership. To better enable me to do this, I decided to actively explore some of the roles I carry out in the publishing house that will facilitate the book in the world, to deepen, in a celebratory way, my role in the publishing of my own work. </div>
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<i>Oslo, Norway</i> is about love and the creation of fictions. And like any relationship, it wills itself to be read in a new way, to do something different: there can’t be anything hidden about how it comes into the world. No secrets. Regrets come later. </div>
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So I have conceived of four video commercials – blips – that will precede the event of<i>Oslo, Norway</i>. Built into the conception of these blips is the dual belief in the necessity for carving out a space for a new novel in the minds of a potential audience, as well as the acceptance of the failing status of commercial literary publishing to confidently mark out its territory. Video trailers for books made in the past for online dissemination feel like still-births in the minds of lost and slightly stunned marketing departments. </div>
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These blips are fragments of my dreams as I finish drafting my next novel, they are incantatory, vatic companions to the fictional, made-up worlds I inhabit as I edit and rewrite the novel called <i>Oslo, Norway</i>.</div>
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Shot on my mobile phone, they are unadorned, silent. They are expanded video commercials born to live on the Internet. They are introductions to an event yet to happen. They represent freedom, where conclusions and conceits don’t show their faces, not until a future time, in the turn of the page or the fold of a metaphor. They are intended for non-literary contexts and settings.</div>
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I no longer read in a way that is similar to how I read when I first started writing fiction and novels. I do not want to write in a way similar to how I wrote when I first started to write fiction and novels simply because I cannot: I am <i>unable</i> to.</div>
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As a novelist first and foremost I carry out my duties in relation to Broken Dimanche Press in a social and artistic way: I see the creation of books in the world as an artistic fiction that mirrors how the best metaphors operate, turning abstract bodies of work into real, tangible objects in the hands and minds of unseen, imagined audiences through the use of convincing, well designed, haptic similes and metaphors. It often feels that there isn’t anything approaching the entrepreneurial with regard to Independent Publishing, that if anything it feels more like a creative endeavor. The stages of publishing a book can be as artistic as the writing of the book: the ambitions remaining the same during both activities. </div>
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Lastly, these blips are introductions to fiction, they are images that house words which in turn add up to approximations of love and telling stories. Disappointing relationships, misleading advertisements? Most certainly. In the words of a man of greater imaginative power than I, they should declare: I’m going to deceive you and for that you will be grateful to me.</div>
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Blip #1 (Them): John Holten</div>
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Written / shot / edited by John Holten for Oslo, Norway, 2014.</div>
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A Broken Dimanche Press commercial video 2013</div>
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ISBN: 978-3-943196-22-1</div>
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With thanks to Ashiq Jahan Khondker, Adriana Blidaru and Plan B Gallery, Berlin</div>
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www.johnholten.com</div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-18185905462608631702013-07-15T15:46:00.001+02:002013-07-15T15:47:11.890+02:00Voyelles, Natalie Czech<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOMvTffaPb7Zrv04Df4G1dh4AoRJG_ebxLXxunYURYtxP3GQwHaysQW5Qk1JxZW6Li20sNOYEnaTCcbnZTIXJobAyUOW5WPPCNBbtvu2kwllU6gtLcPBKhYC_6jBHibSjiD1v5hqjI390D/s1600/969319_10151717941944295_340477410_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOMvTffaPb7Zrv04Df4G1dh4AoRJG_ebxLXxunYURYtxP3GQwHaysQW5Qk1JxZW6Li20sNOYEnaTCcbnZTIXJobAyUOW5WPPCNBbtvu2kwllU6gtLcPBKhYC_6jBHibSjiD1v5hqjI390D/s640/969319_10151717941944295_340477410_n.jpg" width="640" /></a></div>
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 17.99715805053711px;">Installationsansicht Natalie Czech, Kunstverein Hamburg, Foto: Henning Rogge</span></div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-41345911245792695642013-04-28T13:00:00.001+02:002013-04-28T13:00:48.882+02:00Office Party at Kinderhook & Caracas Berlin<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;"><br /></span>
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;"><br /></span>
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;">Kinderhook & Caracas presents:</span><br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;" /><br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;" /><span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;">OFFICE PARTY: Multidimensional Spectrum of Voices</span><br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;" /><span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;">a project by Lorenzo Sandoval with writing by John Holten, María Ptqk, Eirik Sørdal, and Anna-Sophie Springer. </span><br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;" /><br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;" /><span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.727272033691406px; line-height: 14.545454025268555px;">Opening April 24, 2013 6-10pm<br /><br />OFFICE PARTY is a narrative experiment that unfolds in the form of multiple objects, texts and activities. The project stems from a series of images found in an unmarked Ilford Photograph box. The box contains a group of black and white photographs taken at a party in an office in West Berlin in the late sixties. Or maybe the early seventies. The images were taken by the same person, surely the official photographer of the celebration. There are multiple prints of certain photographs, which were likely made to be sold or given to the employees of the office as a reminder of the event.<br /><br />Four writers were selected to interpret the photographs narratively, and to install their texts within an architectural device that provides a discursive space to host them along with the original photos. The exhibition is developed in conjunction with a series of collective writing workshops and performances taking place at Gallery Rosa Santos in Valencia and Kinderhook & Caracas in Berlin. A resulting publication will be compiled and released by Broken Dimanche Press.<br /><br />Exhibition runs from April 24 - May 24<br /><br />Workshop on collective narration: April 25, 26, 27.<br />Please contact us to take part or for more information. Space is limited.<br /><br /><br />KINDERHOOK & CARACAS<br />Kreuzbergstraße 42e<br />10965 Berlin<br /><br />Open Fr & Sa 2-6pm<br />and by appointment.</span></div>
John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-47517524436410862682013-02-20T11:56:00.001+01:002013-02-20T16:57:27.207+01:00The Kakofonie 007 Otto Zoo Milano<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.undo.net/it/evento/154298#.USSrVFN006I.blogger">The Kakofonie 007 Otto Zoo Milano</a><br />
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-29986124018297520292013-01-23T15:00:00.000+01:002013-01-23T15:00:16.478+01:00Residency for Oslo, Norway on Costa Blanca, Spain<div dir="ltr" style="text-align: left;" trbidi="on">
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com1tag:blogger.com,1999:blog-7126161096474325877.post-91555303803917201992013-01-19T21:45:00.000+01:002013-01-19T21:45:52.233+01:00Workshop in Galeria rosa.santos with artists Rafa Tormao and Lorenzo Sandoval<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.333333969116211px; line-height: 17.98611068725586px;">Wednesday 16 is the first day of the workshop which is part of the exhibition "Office Party: Multidimensional Spectrum of Voices", with Lorenzo Sandoval, John Holten and Rafael Tormo. On collective writing and narrative strategies, it is totally free and will be held in the sala 1 Gallery. More information at:</span><a href="http://rosasantos.net/pages/expo_actual.htm" rel="nofollow nofollow" style="background-color: white; color: #3b5998; cursor: pointer; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13.333333969116211px; line-height: 17.98611068725586px; text-decoration: initial;" target="_blank">http://rosasantos.net/pages/expo_actual.htm</a><br />
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0tag:blogger.com,1999:blog-7126161096474325877.post-52351097756100093712012-12-10T15:26:00.002+01:002013-01-09T11:46:09.458+01:00The Congo with Richard Mosse<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; font-family: Arial, sans-serif; font-size: 12.222222328186035px; text-align: start;"> In October and November I went to the Congo with </span><a data-mce-href="http://richardmosse.com/" href="http://richardmosse.com/" style="background-color: white; font-family: Arial, sans-serif; font-size: 12.222222328186035px; text-align: start;">Richard Mosse</a><span style="background-color: white; font-family: Arial, sans-serif; font-size: 12.222222328186035px; text-align: start;">, to help in the making of The Enclave, "</span><span style="background-color: white; font-family: Arial, sans-serif; font-size: 12.222222328186035px; text-align: start;">an immersive multimedia installation specially produced for Ireland’s national pavilion at the 55th Venice Biennale" and accompanying book.</span></div>
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<span style="background-color: white; font-family: Arial, sans-serif; font-size: 12.222222328186035px; text-align: start;">All Photographs Copyright Richard Mosse </span></div>
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John Holtenhttp://www.blogger.com/profile/08963152158815671735noreply@blogger.com0