Thursday, 22 September 2011

Tomorrow I'll Be Happy @ Motto Berlin

The tour continues with one of our biggest exhibitions yet of LGB art. One of my favourite bookshops will be the venue for a unique vitrine exhibit of work from The Readymades.

If in Berlin, come along!

To mark the German launch of The Readymades by John Holten, Broken Dimanche Press are pleased to announce an exhibition by Darko Dragičević at Motto Berlin.

Found within the pages of The Readymades is the seminal text on The LGB Group (1995-2007) by one of the group's leading stars: Djordje Bojić. Extending the world of the book, BDP in conjunction with Galerie Gojković, are pleased to transform Motto's courtyard vitrines with some of the group's more renowned works.

The liminal space of Motto's courtyard will play host to work from The Readymades by:
Aleksandar Gojković (SR)
Miloš Lubarda (SR)
Elaine Pettifer (US/SZ)
Ivan Veselin (HU)
Matthias Nagry (HU)

Serbian artist and filmmaker Darko Dragičević has created the artwork.

The exhibition is presented in conjunction between BDP, Galerie Gojković and FUK Laboratories Berlin (www.fuklab.org)

Monday, 12 September 2011

The Golden Bough - Publication


I have an essay in this Hugh Lane Gallery publication about artist Brian Duggan which I'm very excited about. My sister Katie is also in it, so that's nice!



Friday, 15 July 2011

The Private Notes of Philip M. Dearne


I have writing and some translation in a new book by the AADK Press. Its release is part of four day long performance festival in Berlin AADKunexpected. The project has been quite an experience: expanding a short, strange text from the inside and in tandem with Decottignies and Green. We've gone places we never imagined going...




The Private Notes of Philip M. Dearne


By Adam Green, Thierry Decottignies, John Holten – The AADK Press (Bilingual English and French).

"'A painting is not a construction of colours and lines, but an animal, a night, a cry, a man, or all of this at the same time'
(CoBrA, in 'Connaissance des arts' n° 666)

'It was only then that I noticed the position of her hand. In the course of what could only be described as some kind of fit, all be it a seemingly happy one, her dress had ridden up and revealed, bunched up above a pair of near translucent legs, the white shocking mass of her undergarments, and completely inexplicably her hand nestled inside. She was looking straight at me....'

-The Private Notes of Philip M. Dearne, a collaborative literary project by Adam Green, Thierry Decottignies and John Holten, will be presented as part of the 4-day event AADKunexpected at Galerie161 - featuring a live installation with performance artist Vania Rovisco.“

Saturday 16th July, 4 pm-6 pm, Galerie161 (Torstr. 161), U8 Rosenthaler Platz, Bus 142// www.torstrasse161.de

Monday, 4 July 2011

The Readymades - Novel


My novel The Readymades, which tells the story of the neo-avant-garde group I created, The LGB Group, is off to the printer next week.

Review copies are available:
Email editorkakofonie@googlemail.com with your address and potential online/print publications and such.


Wednesday, 11 May 2011

Footnotes

Finally I've joined a band. We have our first rehearsal tomorrow in Berlin and our first, and probably last performance on Friday. The ambition is to place several footnotes into a song.

The Readymades, or part of it, uses footnotes. They were nice to write. People have been telling me of Nabokov's Pnin, but I've never read it. I think a reader can feel a sense of the make-belief in footnotes and a writer can get lost in them.

But the other band members are certainly interesting and more talented at all this than I am, check them out. www.jeleton.com

María-Ángeles Alcántara-Sánchez (1975, Murcia)
Jesús Arpal-Moya (1972, Barakaldo)

—A team to operate in places for common negotiation such as iconographic, musical and literary repertories. To propose self-teaching practices and publishing of provisory results for debate. To subject authorship to situations of inexperience/humour/appropriation. To disperse the results through space, time and the distribution channels, so to hinder their deactivation by the presentation context.

es insoportable la idea de autor, o la idea de artista
(dora garcía @ el país)


—Jeleton's activity has been incorporated in public art research projects, exhibitions, documentary projects, workshops (recently "Manifesta 8", Murcia, 2010; CA2M, Móstoles, 2010; Casa Vecina, Mexico City, 2010; MACBA, Barcelona, 2010; Le Centquatre, Paris, 2009; Abisal, Bilbao, 2008) and has been supported by grants and research funds (recently Generalitat de Catalunya, Barcelona, 2008).

no te preocupes me han dicho que sí que les mola / que hagas esa cosa que haces tú
("de moda", los punsetes)



Friday, May 13 Altes Finanzamt
Jeleton (text, vinyl record)
performance + opening
Turntable Piece

Artistic team Jeleton makes annotations on cultural consensus through
drawing, performance, music or writing. The term turntable is for a vinyl
record player but also for a revolving table or a turn alternator. Their
"turntable pieces" are exercises on how to perform a vinyl record, how can
be reactivated the listening or receiving situation of a prerecorded
message. Talking to the records, reading texts to them, manipulating them
through scratch.

Monday, 2 May 2011

Galerie Gojković Relaunching www.johnholten.com

Please check out www.johnholten.com which is now hosted by Galerie Gojković in collaboration with BDP. I'm really excited to get to have the endlessly talented, general Renaissance man and great friend Darko Dragicevic and his work on my webpage.
This is just the beginning: The Readymades are coming!

Please continue to check back and stay in touch, more artwork from Dragicevic and news of a touring LGB exhibition this autumn will be posted online in the coming weeks.

Saturday, 19 February 2011

"I remember the sky over Paris sulked with the streets, each sharing their grayness in return for a poor slice of the winter-season. Our first meeting happened in the Marais, a small café with a horseshoe bar which we sat at, and where this lingerer in the tortures of memory politely offered wearied answers to my questions[1]."
...

[1] Questions and answers that would later appear in Issue 23, Volume 5 of Art Monthly

Wednesday, 2 February 2011

State of Motion


I have a short text on LGB artist Zoran Živković's meetings with John Holten in Paris. In a lovely publication State of Motion edited by the Collectivo Piso and designed by Bolos Quentes.


Saturday, 29 January 2011

Firday night with Dieter Roth et al,

Acervos/ Collection Catalogue

A selection of purloined "works" from the private collections of Francisco Queimadela, Lorenzo Sandoval, Mariana Caló and Pedro Serrano.
These collections consist of several unsuspected "art-leftovers" or diverted "works" from various international artists. An “acervo” as we want to present it, suggests something beyond the mere act of collecting, a creative act in itself.

This is the third presentation of Acervos, the previous ones having taken place in Sala Josep Renau (Valência) and Espaço JUP (Porto) with works from other private collections and curated, both times, by Forma Cita.

Works by:

Richard Serra, Susana Chiocca, Ben Lewis, Von Calhau, Discoteca Flaming Star, Anish Kapoor, Catarina Miranda, Andrea Winkler, Petrit Halilaj, Takashi Murakami, Laetitia Morais, Jimmie Durham, Cildo Meireles, Simon Fujiwara, Yoko Ono, Pedro André, Martin Kippenberg, Francisco Queimadela, Roman Signer, Left Hand Rotation, Masayoshi Fujita, Francesc Torres, Elfelix, Balla Prop, Giannotti & Giuriat, Lucia Antonini, Lucas Agudelo, Sofia Lomba, Alfonso Escudero, Sara Pereira, Erik Beltran, Francesc Vera, Mariana Caló, Olafur Eliasson, Maria Ptqk, Sonia Genoese, Ignaz Shick, Christian Marclay, Inês Ferreira, Graw Böckler, Alexandre Lemos, Dídio Pestana, Francisco López,João Paulo Feliciano, filipe dias De, Martín López, Anabelle Hubaut, Carlos Amorales, Jaime Raposo, Regina de Miguel, Christina Casnellie, João Alves, Joseph Beuys, Ramsey Arnaoot, Jonathan Saldanha, Virginia Pinho, Lorenzo Sandoval, Matt Mullican, Pedro Cabrita Reis, Marta Leite, Joa Gridfonte Mario Gomes, Filipa Cesar, Marta Bernardes, Hannes Broecker, Dan Graham, John Holten, Eirik Sördal, Urszula Wozniak, and others...

Wednesday, 26 January 2011

Apocrypha of a Kakofonie - Editorial Issue 3


In a foray into curating, I ended up with something opposed to how many video art exhibitions work. A real eclectic mix, issue 3 of the Kakofonie is truer in spirit to a journal or a revue than a highly thematised gallery show in which the hand of the curator is clearly seen. In a way, the chaotic madness of the Internet and Youtube is given a frame here. Below is the issue's editorial essay.

Link to issue

Siouxzi Mernagh / Matthew MacKisack / Lauren Moffatt / Gabi Schaffner / Kerstin Cmelka / Gerard Carson / Richard Mosse / Pauline Carnier Jardin / Anna Niedhart

Hating Women
I wouldn’t for the life of me be able to say why history is full of men who hate women. Even if one were to try to answer such a conundrum, they would be left facing the question: why so much hate in history tout court? Let us look at history as a long line of emotions, a scale of feelings, good or bad, disgust or attraction, and we can add here hate and love as two more markers, with the coordinates of events and their repetitions gravitating more toward the former than the later. As soon as you start to plot emotions on a graph you have backed into a dead end.

The Circus
The curious thing about the circus is that one of its features is always to engage the audience; at some point in the evening’s show the ringleader will enter into the tiers and much to the delight of the half-worried, half-self-conscious parents, pick some child already losing the memory of being brought down into the ring to ride the back of some caged horse let loose in a 0 that never ends. The circus is for children but overseen by adults. The circus is an allusion of a trick performed well for an audience adrift in the throes of forced amnesia.

Narrative disjunction
…when the event happens people don’t notice, they don’t notice the State intervening and watching (think of Althusser’s Ideological State Apparatuses) and then well no, it’s just people walking along the street, the city, the Everyday as profane fairyground. WD walked home slowly, thinking to himself about the graffiti, the marks that he respected but somehow feared…

Michel Haneke
‘I always say that not only film, but books too, are like ski jumps. They have to be built in such a way that people can jump properly. But the film is the ski jump and it’s up to the spectator to jump.’ Let’s have love as a ski jump, too. Perhaps.

Self Perception/External Perception
We see ourselves when other people see us. Sartre bends down and puts his unblinking, ruined eye next to the keyhole and looks on with his breath held. Watching. Behind him on the non-creaking stairs another, the Other, creeps up and watches the philosophe watching and being arises on the dark stairwell like rubbish left on the streets after the carnival.

Interpretation
The beast. Let us not say disability instead of aggression. Revolutionary perception is akin to reasons why Big Brother would carry out an archeological dig.

Insurrection
And preserve the dignity of our people. And preserve the dignity of our people. And because you have killed innocent people and destroyed our homes. And because you have besieged this oppressed people. But the result is the same.
It is death.

Death
This cacophony in our ears then is full of death and love and misunderstanding. The circus shows us how to interpret death: cage it and then forget about it until it next rides into town. Occasionally laugh in its face.

Sunday, 12 December 2010

Saturday, 11 December 2010

'I, Coleoptile' by Ann Cotten & Kerstin Cmelka


The book project I dreamed up and oversaw this year came to life in November, with the first launch in Berlin comprising of a MicroCaberat. I'm very proud of it, lucky to have worked with such great talent!


FOR IMMEDIATE RELEASE:

I, Coleoptile

Ann Cotten & Kerstin Cmelka

2010 English


127 x 184 mm, 88 pages,

25 b/w photos 2 ill., softcover with French Flaps 


Design: FUK Laboratories

ISBN:978-3-00-032627-1

Ihre Gedichte gehören zum Größten, was deutschsprachige Lyrik dieser Tage kann: Ann Cotten

Her poems are among the greatest to be written in German poetry today: Ann Cotten

— Die Zeit

I, Coleoptile is the first full-length book in English by acclaimed Austrian poet Ann Cotten. A poet celebrated for her inventive, challenging work in the German language, often cited as one of the best poets in the language today, this collection marks an exciting chance for a wider European audience to enter the space of Cotten’s erudite, playful poetry. It also sees a unique collaboration with the visual artist Kerstin Cmelka, making the book at once a stimulating dialogue between two artists in full control of their art and a beautiful book of ekphrasis.


BDP has always been interested in these things: introducing the work of young, critically acclaimed writers into another language than the one they normally work in, as well as allowing visual-textual interaction between writers and visual artists. In this way the work is given space in an environment that can see it as considered avantgarde work: new, combative, unfamiliar, rigourous.

I, Coleoptile follows the unfurling of a series of lines of Cotten and Cmelka’s work: the unfurling of the personal in the world of an unruly, second language, the experience of travel (part of the book was realised on a residency trip to Ireland in July, 2010), the travails of Enzo, one of the book’s many ‘sprouts’, and the investigation into hooliganism and abrasion through Cmelka’s re-shooting of video stills from Vladimir Mayakovsky’s only foray into film, The Young Woman and the Hooligan.

The result is a tightly woven book of poetry and image, with a unique design realisation with FUK Laboratories from Berlin that gives the chance to enjoy some of Europe’s boldest, most original poetry and contemporary art.

---------------

Ann Cotten has publications include Florida-Räume (2010), Fremdwörterbuchsonette (2006) both with Suhrkamp Verlag. She has also published a book on concrete poetry Nach der Welt: Die Listen der Konkreten Poesie und ihre Folgen (Klever Verlag) in 2008.

Kerstin Cmelka most recently she has taken part in Gestures - Performance and Sound Art at the Museum of Contemporary Art, Roskilde, Denmark (2010), Scorpio's Garden in the Temporäre Kunsthalle Berlin (2010) and the Gegenwelten-Filmfestival at the Künstlerhaus in Vienna.

Speech At Humboldt-Universität Berlin, Dec 3rd 2010


Guten abend, meine damen und herren,

Madames, messieurs, bon soir,

Good evening, ladies and gentleman,

It’s with great pleasure that I can stand here tonight and address you all on this momentous occasion, I’m very honoured and humbled by the opportunity. For as you all know, tonight sees the graduation of the European Law School’s inaugural graduation class, an evening that sees nine students of remarkable calibre and ability from all over the continent enter into a Europe that now more than ever needs them.

Europe, as we all know, means many things. An economic system, a legal system, a cultural matrix, a dream, a nightmare, history, the future, our very present. Without daring to offer my own definition of Europe, I can only say that Europe for me is a sea of culture, its tide reaching as far as the Urals, the Dead Sea, the polar ice caps, a little island, called Ireland. For myself now today here in Berlin, in this wonderful university so resplendent of history, it’s been a long sea journey from my roots in a small little town on a very troubled border in northeast Ireland. First as a student and teacher in Paris, then in Norway and most recently in Germany, I’ve come to land in this culture, and working in it, embracing it, investigating it as thoroughly as I can, all this has brought me to places I could have only dreamed of as a boy, in front of people as fantastical as those who populated the adventure stories of childhood: it has taken me somewhere as special as in front of you, ladies and gentlemen, this evening. And how very lucky I am.

Dear graduates, as the first of hopefully many to have completed this unique, bold course, you are exceptionally well placed to go out and enter this heaving, shapeshifting sea we call Europe. Navigating it, working in it, living in it, does not mean something abstract, despite my reliance on metaphor! No – it means working like millions have for centuries, taking over the controls that have been so carefully made by your elders.

The only abstractions I would like to talk about this evening – based on my own experiences of wrestling with this sea, of understanding the world I live in – are courage and ambition.

Because what you have experienced during your time in the European Law School and what you will experience as soon as you step out into the world of work or further study, applying this education, is what the French historian and statesman François Guizot first identified as the prime characteristic of this difficult concept Europe – that is: diversity.

To leave the country you grew up in, where everyone speaks the language you’ve known your whole life, a place where you get all the pop-culture references and the cycles of the seasons never seem to surprise: this movement takes a certain, admirable amount of courage, and is only matched in intensity by the amount of ambition you each bring to bear on your successive, diverse worlds. And no matter what definition of Europe you hold to, no matter what form it takes in your head, it is merely like the Aral sea in Uzbekistan, slowly evaporating into non-existence, without the life-giving tributaries that are your, the next generation, ambitions.

And built into ambition is the idea of success. Success is a funny thing: in our present age success would seem to hold sway over many people’s actions and intentions. But success is a hungry animal in my experience: it is very seldom that one sates success’ appetite oneself. It is masked by ambition. But let me do the honours this evening: you have all sated this determined animal’s hunger by graduating from this novel, ambitious study programme. You embody that great thing: success where nobody has succeeded before. And before you let the mask of ambition be donned once more, before you start out on your plans to takeover the captaincy of this ship, pause a moment and enjoy this success.

Everyday now we are confronted with a new ‘crisis’ in Europe. There is no doubt that these are turbulent, and dare I say it, exciting times. My own country not least has felt the pressure. And while emigration has come back to haunt the youth of Ireland, I know myself the benefits to be gained from travelling and living abroad: I came to Berlin two years ago and since that time I’ve done my best to get lost in its cultural marvels, an endless conversation with people from all over the continent eager to create something, to interpret this difficult world. For if the leaders of our respective countries meet to discuss bail-out plans and interest rates, should not we also get to meet each other? And the courage it takes to go out there and meet each other, to find our way in this new place that is somehow supposed to be different because we were born in a foreign land and hold a different passport leads very clearly to personal enrichment, personal success. And it is this personal success each one of you have already achieved that enables the structures overarching the legal, economic and political levels of Europe to exist in the first instance.

My heroes, people who left that little island long ago in times no less turbulent, James Joyce, Samuel Beckett, remind me constantly while I try and find my way working in this great diversity of Europe, of the courage that it takes to set no horizon too wide. Joyce roomed around Europe with his family – not always an easy journey, met with derision from friends and family – dodging a war here, a war there, and out of it he created a success many would deem today unsurpassable in the field of literature. Europe was his launching pad, and the cosmopolitan, international centres of Trieste or Zurich – so similar to so many of Europe’s cities today – were his pool of inspiration, and out of Europe he floated works of art that immortalised one little country and showed how even it, an Ireland not yet even sovereign, could join this diverse sea of culture we call Europe.

Beckett even more so: he made France his home; he fought for France; he adopted the French language.

Heroes such as these, for me, betray the lie that the difficulties inherent in Europe’s diversity halt progress, work or inspiration. On the contrary. If the courage is taken to ride out and cross these once barb-wired topped borders, the return is multiplied infinitely: success is yours to be had. There is no such thing anymore as exile in Europe, only a change of one’s scenery. For as another Irishman, Edmund Burke stated as long ago as 1796, ‘No European can be a complete exile in any part of Europe.’ And it is up to us to defend and bring to fruition the possibilities built into such an amazing idea – none of us can be an exile anywhere on this continent.

And while this for some opens an extremely exciting, new moment of history, for others it creates anxiety, and recourse to those perspectives that have plagued Europe through the centuries. Your challenges today as young legal professionals are legion. The very movement of a globalised world gives rise to a need to review the legal framework surrounding immigration. Free speech, the spread of information, a common EU foreign policy – the examples are endless of what you can work toward. There are forces amassing that echo back to the darkest days of the last century and this city knows all about this echo. And the rule of law, at a transnational level, offers the prospect of what the founding principles of the EU had as their ambition: peace in Europe. Peace built on mutual understanding, respect, justice.

To take on Europe then, whatever definition of it you wish to choose, is a courageous act, an ambitious one. For we must put ourselves out into its waters in dialogue with its great, difficult history. We must confront the wars, the catastrophes as our own, the genocide and betrayals that have plagued the continent: to do this is a real graduation, a real education. Because armed with this past we can work in Europe’s diversity for a remarkable future, a future that is predicated on us having the courage to be our own heroes.

L'avenir est inconnu, mais en même temps, c’est vous. Cela est certain. Et l’avenir dure longtemps.

Herzlichen Glückwunsch noch mal.

Vielen dank.