I've always meant to ask if Rempress includes
a deliberate pun on empress?

Ira


On Thu, 4 Dec 1997 01:35:39 +0000 (GMT) Karlien van den 
Beukel wrote:

> From: Karlien van den Beukel <[log in to unmask]>
> Date: Thu, 4 Dec 1997 01:35:39 +0000 (GMT)
> Subject: Re: "70's" type art/music/poetry now?
> To: Ira Lightman <[log in to unmask]>
> Cc: [log in to unmask]
> 
> 
> 
> On Wed, 3 Dec 1997, Ira Lightman wrote:
> > 
> > Terrific postings: thanks for the tips and the
> > thoughts, everybody. I especially enjoyed Fiona's
> > detailed posting eg
> > 
> > 	"One of the basic ways in which the work was able
> > to be successful was when it worked towards, not an 
> > either-or of the disciplines, nor a juxtaposition, but 
in 
> > fact  a third issue."
> > 
> > I, for one, would really like to hear more in detail
> > of the projects you're describing, not least the ones
> > with scientists. Would it be not "third issue" enough
> > to ask if they were in any sense lab experiments,
> > hypotheses, fact-finding etc, or how did they reflect
> > on these hopes?
> > 
> 
> I also liked the idea of 'third issue' and wondered if 
Fiona was intending 
> 'Aufhebung' (cancellation/arising), where the term 'issue' 
itself has an
> interesting resonance. 
> 
> I could imagine that talking for 10 minutes with an artist 
at a reception
> party and later being presented with 'an issue' is almost 
like being
> presented with an issue one cannot recall having 
procreated. Except it
> does not, in Andrew Duncan's words, 'make a racket'.
> 
> I have attempted to collaborate formally with a friend, 
Miriam, who is a
> painter, lives in Amsterdam (work in shorthand: 
neo-expressionist
> figurative, see Palladino or Cucci), and we did breed a 
lot of hypotheses
> on value and speculation and we went also went historical 
'fact-finding'
> (looked at and read up on 17th & 18th century pedagogical 
Samplers,
> embroidered with houses, domestic animals, trees, symbols 
such as anchors
> and vines and tulips (think:crash), and biblical texts, 
great collection
> of samplers in the Fitzwilliam; as well as the Victorian 
tradition of
> 'friendship albums' in which people would write poems and 
drawings) but we
> never made a formal product of it. It was fun though & 
perhaps not
> considering it 'scientifically' (as being ipso facto 
'important'?) meant
> that we looked at the tradition of text/image products 
made by women in
> the domestic sphere, and the way in which these products 
had neither
> use-value nor commodity exchange value. Probably this is 
not '70s' 
> art/music/poetry discourse....
> 
> To get back to Fiona:
> 
> Rempress is to publish Fiona's "oops the join" on the 16th 
December, which
> are a series of poems written in response to drawings made 
by Siobhan
> Liddell (drawings you could imagine as those Beuys did, 
faint, suggestive,
> make-do, but without using 'extreme' marking materials 
such as blood;
> rather crayons, pencil, white paint).
> 
> Each one of the poems 'belongs' to one of drawings, but 
the 'responses'
> are varied, such as representing particular ways of 
looking (not the same
> as 'translating' image into text), or resonating the 
suggestibility of the
> image, or commenting on the material that constitues the 
image. Of course
> the poems lead a life of their own. 
> 
> Siobhan initally wanted to respond to the book product 
'oops the join'
> by making actual cuts (with a knife or scissors) in the 
book, and I
> thought this was a interesting idea. (Apart from a witty 
comment on
> 'textual editing' and materiality of book, also a witty 
comment on value
> of visual artist's 'original' mark: how can one remove a 
cut the same
> way as galleries do who now sell lithographs Picasso made 
for book of 
> sonnets?). But Siobhan decided not to do these 'markings', 
so here it
> floats as another idea deferred.
> 
> Maybe Fiona would like to comment, maybe not.
> 
> Karlien
> 





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