Produced on the occasion of Continuous Moment: Le Desir/Lejeuner, presented by Melbourne Srt Theatre at the Gossard Theatre, RMIT School of Art, June 25, 2018.

Continuous Moment: Le Desir/Lejeuner is part of Bertoli’s ongoing research and investigation into Picasso’s play Le Désir Attrapé par la Queue (Desire Captured by the Tail). Referring to both a 1944 reading of the play and a staging of the play in 1967 by Jean Jacques Lebel, Bertoli’s work addresses ideas of repetition, reprise and continuity. Like Picasso’s text and Lebel’s production, Bertoli draws on a vast network of references and influences. In this light,Continuous Moment: Le Desir/Lejeuner can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.

Designed by Warren Taylor.

Continuous Moment: Le Desir… is part of Bertoli’s ongoing research and investigation into Picasso’s play Le Désir Attrapé par la Queue (Desire Captured by the Tail). Referring to both a 1944 reading of the play and a staging of the play in 1967 by Jean Jacques Lebel, Bertoli’s work addresses ideas of repetition, reprise and continuity. Like Picasso’s text and Lebel’s production, Bertoli draws on a vast network of references and influences. In this light,Continuous Moment: Le Desir… can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.

Text by Chris Sharp. Designed by Warren Taylor.

Produced on the occasion ofContinuous Moment: Sordid’s Hotel, Centre for Contemporary Photography, 7 February–23 March, 2014.

Continuous Moment: Sordid’s Hotel is part of Bertoli’s ongoing research and investigation into Picasso’s play Le Désir Attrapé par la Queue (Desire Captured by the Tail). Referring to both a 1944 reading of the play and a staging of the play in 1967 by Jean Jacques Lebel, Bertoli’s work addresses ideas of repetition, reprise and continuity. Like Picasso’s text and Lebel’s production, Bertoli draws on a vast network of references and influences. In this light, Continuous Moment: Sordid’s Hotel can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.

Text by Helen Johnson. Designed by Warren Taylor.

Twice a year, The Institute of Social Hypocrisy publishes a fanzine. These publications serve as a tool with a dual purpose. Primarily they are a means to put out developing art projects by a range of invited artists and contributors, throughout the duration of the Institute project.

These fanzines are neither publications for reference, nor books of completed projects. They are a means for artists to put their work in front of new audiences in order to invite input and discussion, thus helping the project to develop. They allow the artist to take a level of control and give a certain independence with regards to the traditional scope of the distribution of their work.

Poster/invitation produced on the occasion of Experimental Jetset’s exhibition Posters, 13 July–4 August, 2007 at the Narrows, Melbourne.

Experimental Jetset is a small, independent, Amsterdam-based graphic design studio, founded in 1997 by (and still consisting of) Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, and describing their methodology as “turning language into objects”, Experimental Jetset have worked on projects for a wide variety of institutes.

More information on the exhibition can be found here.

From the authors: “Do you know what şemsiye means? Do you use the word kırbaç for a whip? For around three years, we have been asking each other about identical words used in both our languages: Turkish and (vernacular) Palestinian Arabic. It is a process that can last for good – as long as our friendship lives. We spend time together uttering words that are held in common and draw them, discovering whether they carry the same meaning, are slightly different, or are false friends.”