An Anecdoted Topography of Chance

A photo by Dominic Johnson of Amy Sharrocks' Landscape with Fall of Artist. River Thames, London.

Writing by Shaun Caton surrounded by images of Shaun Caton's analogue montages "Night Life 11" (2024) and "Night Life 30" (2024).

Appears in COMPOST: Issue 2 Accidents and Emergencies

Este livro é composto de narrativas simbólicas construídas por diferentes mulheres, tendo como disparador criativo as memórias e vivências da orla e da cidade de Fortaleza. Suas palavras presentificam a forma como o corpo e a subjetividade feminina constituem historicidades para além das impostas sócio-historicamente. Mergulhar nele é entrar em outros mares.

This publication is in Portuguese (Brasil)

This book is in Spanish.

Spanish title: GAM: Diez años de transformación cultural

Documents the work of fourteen performance artists who marked the personal and political resonances of the new Millennium in a series of site-specific actions. Contrasting with the epic, populist and homogenising nature of the official celebrations, these works focused on forgotten and ephemeral experiences, enacting small but significant interventions in the public sphere.

Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology-fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling.

The function of the critic and the function of the artist have been traditionally divided; the artist’s concern was the production of the work and the critic’s was its evaluation and interpretation. During the past several years a group of young artists evolved the idiom of Conceptual Art, which eliminated this division. Conceptual artists take over the role of the critic in terms of framing their own propositions, ideas, and concepts.

An essential aspect of Conceptual Art is its self-reference; often the artists define the intentions of their work as part of their art. Thus, many Conceptual artists advance propositions or investigations. It is in keeping, then, with Conceptual Art that it is best explained through itself, i.e., through the examination of Conceptual Art, rather than through any assumptions outside of itself. In this sense, this book is not a “critical anthology” but a documentation of Conceptual Art and Statements.

Wait it Out is published in relation to the research and preparations made for Sandra Johnson’s solo exhibition at Project Arts Centre in 2019 with newly commissioned works. Through an extensive conversation between the artist and curator, editor Livia Paldi, and additional texts and visual documentation the book presents a rich trajectory and variety of reflections to relate to the exhibition and performance at Project, as well as the pre-history that undergirds the project with special focus on Johnson’s work in Dublin during the 1990s.

This is the first collection of writings by Sarah Boulton and brings together her happenings, encounters and happening-upons.

The first half of this collection is a series of texts that describe encounters and happening-upons, which are two directions of experiencing. Encounters are what happens to [her] and happening-upons are what [she] find happening. [She’s] made them into happenings by way of writings.

The second half of texts are happenings that [she’s] made since 2012 that [she has] now documented into words.

Throughout the collection, there are texts that Boulton has written in respinse to some of these writings, which are continuations that circle back and move forward the ideas and actions over time.

Video documentation of an online artist conversation with  Rosalind Fowler, Isik Sayarer and Eva Knutsdotter  in December 2021. This conversation followed an online screening of BREADROCK, I feel like doing this, a film by artist collective Fourthland (Isik Sayarer and Eva Knutsdotter) and artist and filmmaker Rosalind Fowler.

BREADROCK, I feel like doing this is a visceral homage to cultural history, memory and universal myth.  Melding experimental and ethnographic filmmaking, the work presents a series of staged vignettes drawing on the rituals and artefacts of the Estate’s Bangladeshi, European, Kurdish, Serbian, Turkish, Ugandan and West Indian communities, to create new kinships, myths and culture.

An essential introduction to the life and work of Sonia Boyce, a leading contemporary artist whose interdisciplinary practice explores artistic authorship and the creative potential in unexpected play.