Today is Sunday March 27 2022 (Oggi è venerdì ventisette marzo millenovecentosettanta) 1970/2022
︎ Extending the reverberations of Aligheiro E Boetti’s piece about time and identity through time and another body, I “recreate” the work by Boetti with caveats. The piece itself could never actually be recreated as it is the record of a specific point in time that cannot come again, but comes always again in its generality. The work itself syncs up with my own birthday, and I draw on the significance as a continue remark on the passage of time. The statement is no longer just about a singular date in time, but a date which marks for my own record of time another year passed. In its mirrored duplicity, the writing act pushes the limits of my ability to transcribe this detail neatly. In recreating the work and leaning on all of the coincidences that had to come about in order to enact it, I create a space of anxious temporal mapping, that will itself echo outward.
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Concerning the Discernment of Meaning (after Robert Rauschenberg’s This is a Portrait of Iris Clert If I Say So)
︎ Invested in that which makes meaning through declaration this work takes as its beginning point an art historical event masquerading both as joke and as coverup of a lack of time. Rauschenberg’s piece arose supposedly because he had forgotten and had run out of time while working on another show. He created a beautifully conceptual portrait and so in a follow up I question the (I) that makes possible that declaration of artistic intent as it allies itself with a separation of material and ethereal (concept). How does conceptual art allow us to think more about our bodymind?
Some Sketches for a Series of (anxious) Cubes to be Sat On
︎ A series of written sketches for works to eventually be made, but which cannot quite yet. Part of Thomas Huston’s bootleg recreation of Mel Bochner's Working Drawings and Other Things on Paper Not Necessarily Meant to be Viewed as Art for Apparatus Project’s I feel like a bootlegger’s wife. Look!
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