in collaboration with the Department of Architecture of the “G. d’Annunzio” University of Chieti-Pescara curated by Zerynthia Association for Contemporary Art OdV
As in the forest individual trees, through complex relations, create a constant equilibrium between themselves, so in No Man’s Land the artistic installations, albeit pronouncing themselves singularly, coexist alongside each other in this “land of imagination open to all.” Yona Friedman
No Man’s Land Foundation will present, on Saturday 31st October at 11.30 am, the permanent site-specific installation by Alberto Garutti, entitled “tutti i passi che ho fatto nella mia vita mi hanno portato qui, ora” (“all the steps I have taken in my life have led me here, now”). The piece consists of a stone slab from Majella placed in a field, upon which is inscribed that sentence which anyone can make their own. Installed in various cities since 2004, it creates each time invisible relationships and trajectories between the different places. The Foundation, moreover, will present two sound installations: “Gardening with John 1.1”, 2006, by Alvin Curran, a tribute to his friend John Cage using recordings made in the artist’s New York loft and samples of his well-known laugh.
Humanizer, 2020, hand-cut and perforated laser print on archival paper, 7.5” x 7.5” (12” x 12” framed), Edition of 220
It’s time to replace all the men in your old books with a Humanizer print
This is a new project available for humans in 2020 – an edition of 220 hand cut and perforated prints
Each print contains 900 1/4” “human” tabs to replace the “men” in your old books
All humans are connected and human contact is essential
The Humanizer print is an edition of 220 hand-cut and perforated prints that address the need to update the gender bias found in many of our printed books. The word “human” is printed and perforated in a grid to create 900 ¼” tabs. These tabs can be pulled off and glued into an old book to replace references to “man” or “men” with “human”. The Humanizer print works as a conceptual suggestion or concrete poem, but also as a functional object that could actually be used as suggested. The edition of 220 prints allows for a more inclusive perspective in our historic documents while also addressing concerns about the art market and our current economy. The accessibility of these prints flattens the hierarchy of art collecting, allowing more people the opportunity to acquire art and satisfy our human need to be conceptually and physically connected.
I receive from Rachel Defay-Liautard news about her installation @ The Bury Museum (“The installation was commissioned by the Museum, as an accompaniment to Random Archive exhibition, an installation of the Text Art Archive, running since May 20th until August 12th”). For me it is really of great interest, so I thought to make the newsletter available here (images included): https://slowforward.files.wordpress.com/2017/08/maintenant-synapse_-newsletter-aug-17.pdf
Pantography tweets a message every hour. Each one is consecutive: the first was ‘0’ and the last will consist of 140 zeds. Between these two extremes, every possible message will have been tweeted: http://joegatt.net/pantography