JACQUES & JEAN

Series of stream-of-consciousness descriptions, analyses and critiques of our toy art scene, printed and disseminated monthly by post and word of mouth in the build up to their display at ARRANGEMENTS, Pallas Projects Dublin, November 2019.

PART 1 : DECEMBER 2018.


ARRANGEMENTS

As of SEPTEMBER 2018 I am no longer on social media. Coinciding with this 'social experiment' I have begun developing art relationships that circle the word 'arrangement' – something that Deleuze and Guattari worked under when writing Anti-Oedipus: Capitalism and Schizophrenia (1972). The definition of ‘arrangement’ is beautiful without even looking it up, pointing towards something formal, convivial, or a future conditioned by relationships that have yet to be defined. ARRANGEMENTS will begin with an invitation to participate; then participation will evolve into 'arrangements' that may find haphazard form as paper, voice, word and yet to be defined.

*Kindly supported by the Irish Arts council.

 
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ZINE

 

Supported by the Irish Arts Council through the Project Award.
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ZINE (ARRANGEMENTS)

Introduction

My fascination with zines began when introduced to artists like Mike Kelley and Raymond Pettibon, both of whom explored their immature socio-political drives and desires in DIY zines, defined as a cheaply-made, cheaply-priced publication, often in black and white, but brimming with the personalities and passions of its creators.

Encapsulated by the word ‘arrangements’, something that French philosophers Gilles Deleuze and Felix Guattari worked under when writing Anti-Oedipus: Capitalism and Schizophrenia (1972) , this project, ‘Arrangements’, is defined by collaboration and self-sufficiency. The casual definitions of ‘arrangement’ help to introduce the project, pointing towards something formal, convivial, or a future conditioned by relationships that have yet to be defined.

Wider Context

During the depths of the Irish financial crisis (2012) I was kindly and bravely supported by the Irish Arts Council to produce, co-edit and design a printed quarterly on art, Fugitive Papers (five issues). Since then I have been motivated to produce an alternative art publication that builds on my experience of self-publishing over the last six years but also reflects/or counters our present financial and technological climate.

As the Irish economy grows commercial printers I have worked with in the past are less than enthusiastic about working on smaller print runs. I have also noticed an emphasis placed on the quality and originality of the design and materials that comprise printed art publications, sometimes to the detriment of content. Furthermore, the design and printing processes take up the majority of the budget, while artists and editors are secondary in terms of monetary remuneration.

This project tackles these growing issues by retreating to the the traditional DIY route of art publishing; not just self-publishing, but self-production, with an objective to work in a deep-seated and intimate manner with artists in the production of 7 collaborative and unique visual artist zines, and build foundations for self-sufficiency in DIY art publishing into the future.

 

This will be achieved by way of three organising principles:

1. DIY

Purchase simple and affordable screen-printing setup for home studio. Simplify the printing process by using black ink in the tradition of the DIY zine. Simplify the folding and binding of the zine by screen-printing content onto one large sheet, back and front, and then fold and/or tear into a zine.

 

2. An Evolving and Inclusive Discursivity

Re-edits and reiterated utterances will be embraced and made explicit during the printing process, revealing as much, if not more, as finessed dialogue and design.

 

3. Arrangements (artist zine)

Over the course of correspondence with participating artists, pages and other printed paraphernalia will be added and subtracted, proffering transparency in the design and editing process. Digressions will be embraced and made transparent in the printing process as marginalia, strike-throughs, explicit deletions, corrections and substitutions.

Detailed Plan

*November 2018

-Purchase equipment and materials and setup working space in home studio.

-Roll out 7 consecutive correspondences with 7 participating artists. This will be done via Messenger, text, email and in-person. Public conversations will be held to reignite the process, participant engagement audience awareness. Every effort will be made to keep each correspondent engaged, but due to the ups and downs of artistic practice gaps in correspondence is expected. Alternating participants will take up the slack during alternating downtimes.

(Printing Schedule & Launch) *January to September 2019

The transparent editing and printing process will be achieved piecemeal over the course of 2019 in my home studio. A feasible 200 copies will be produced for each unique correspondence, amounting to 1400 copies over the course of 2019.

(Launch & Joint Public Discussion) *November 2019 - Pallas Projects Dublin

Pallas Projects have agreed to be the hosting venue, which includes launch night, discussion and exhibition, bringing together a community of artists for one night for a joint discussion. Each participating artist will receive 20 zines to distribute to friends and interested parties.

Zines will be available to buy at the launch for €5 each/ or online €6.50 (includes p+p) through my website: iamnotapainter.com/

Names of participating artists will be shared soon.

 

ARRANGEMENTS

As of SEPTEMBER 2018 I am no longer on social media. Coinciding with this 'social experiment' I have begun developing art relationships that circle the word 'arrangement' – something that Deleuze and Guattari worked under when writing Anti-Oedipus: Capitalism and Schizophrenia (1972). The definition of ‘arrangement’ is beautiful without even looking it up, pointing towards something formal, convivial, or a future conditioned by relationships that have yet to be defined. ARRANGEMENTS will begin with an invitation to participate; then participation will evolve into 'arrangements' that may find haphazard form as paper, voice, word and yet to be defined.

 
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DEEP—SEATED

Written interviews with individual artists conducted over the course of a year, teasing out questions and answers with deadlines not being a priority. Questions and answers running parallel to the act of art-making so Time, and the changes of mind and circumstance that come with Time, is felt in the conversation. Written interviews made into individual printed booklets and shared via post and word of mouth.

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ARRANGEMENTS

As of SEPTEMBER 2018 I am no longer on social media. Coinciding with this 'social experiment' I have begun developing art relationships that circle the word 'arrangement' – something that Deleuze and Guattari worked under when writing Anti-Oedipus: Capitalism and Schizophrenia (1972). The definition of ‘arrangement’ is beautiful without even looking it up, pointing towards something formal, convivial, or a future conditioned by relationships that have yet to be defined. ARRANGEMENTS will begin with an invitation to participate; then participation will evolve into 'arrangements' that may find haphazard form as paper, voice, word and yet to be defined.

*ARRANGEMENTS exhibition in November 2019, Pallas Project Dublin. Kindly supported by the Irish Arts council.

 
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ORPHAN

 Robert Mapplethorpe's two invites for  The Perfect Moment , which opened at two spaces in 1988: Holly Solomon exhibited the commercially viable portraits and flowers, while the experimental space The Kitchen exhibited the sex pictures.

Robert Mapplethorpe's two invites for The Perfect Moment, which opened at two spaces in 1988: Holly Solomon exhibited the commercially viable portraits and flowers, while the experimental space The Kitchen exhibited the sex pictures.

 

Supported by Artlinks.
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Invitation to the art community to submit images and handwritten letters to be included in a printed publication launched later this year. DEADLINE FOR OPEN SUBMISSIONS HAS PASSED. 

The authors of selected images and letters will be randomly listed on the cover of the publication but not alongside their submissions. 

Before you submit keep in mind:

1. Take time to critically reflect on your selected images and handwritten letters.

2. Submit high resolution images and high-quality-scanned handwritten letters.

3. Keep in mind that publication will most likely be in black and white, although colour elements may be added. Best advice: Think black and white with the possibility of colour. If your image can't survive without colour then we'll figure something out together.

4. Alternatively post handwritten letters (postal address given on request) Postal costs on me.

5. No details regarding the date, medium, materials, dimensions, title is required.

6. 100 copies will be made; every author of selected image and letter will receive a copy, the rest will be distributed to interested parties.

7. Date and location of book launch & screenings TBC.

8. Deadline for invited artists and writers: November 1st.

READ BELOW TO GET A BETTER SENSE OF THE ORIGINS AND AIMS OF THE PROJECT. 

 Gillian Wearing's  Self-Portrait at Three Years Old  (2004) confronts the viewer with her adult gaze through the eyeholes of the toddler’s mask.

Gillian Wearing's Self-Portrait at Three Years Old (2004) confronts the viewer with her adult gaze through the eyeholes of the toddler’s mask.

 

ORPHAN is a project first conceived in 2011 as a callout to artists and others involved in the making and distribution of art in Ireland. Each submitted image would reveal some aspect of the art making or exhibition process that was ‘orphaned’ in the process of making things right, professional, perfect. Each image was to be displayed in a publication, anonymously. The project was not about promoting the artist or art institution, but to proffer a view at the extraneous behaviours of the artist, beyond professionalism and towards some kind of vulnerable, shameful, joyful or uncomfortable truth. 

Using psychoanalysis as a framework, something I have done in previous projects, like Deep-Seated (2016) and Madder Lake (2017), ORPHAN reaches out to artists nationally and internationally to reveal the deep-seated natures and nurtures behind their work and life through the submission of images and/or handwritten letters. 

Selected images and letters (invited and open submission) will target the emotions and desires that undergirds art, artist and artistic life, but isn’t always shared or made explicit in the white-cube or public-sphere display of art. ORPHAN propagandises the privacy of the individual in an era when privacy is a false commodity.

These images will form a booklet and inspire orphaned splices of text and images that will offset the submitted images in the booklet.

A screening of the selected images foregrounded against music followed by a post-mortem conversation will take place at the launch of the publication. 

SUBMISSIONS TO: naivedays@gmail.com ; postal address on request.

 

 ABOUT   A R R A N G E M E N T S

As of SEPTEMBER 2018 I am no longer on social media. Coinciding with this 'social experiment' I have begun developing art relationships that circle the word 'arrangement' – something that Deleuze and Guattari worked under when writing Anti-Oedipus: Capitalism and Schizophrenia (1972). The definition of ‘arrangement’ is beautiful without even looking it up, pointing towards something formal, convivial, or a future conditioned by relationships that have yet to be defined. ARRANGEMENTS will begin with an invitation to participate; then participation will evolve into 'arrangements' that may find haphazard form as paper, voice, word and yet to be defined.