Produced on the occasion of Patty Chang: Glass Urinary Devices at A Tale of A Tub, Rotterdam, 14 September – 3 November, 2024. In 2015, American artist Patty Chang followed the South-to-North Water Diversion Project, the longest aqueduct in the world, which brings water from southern to northern China. While walking, she collected her urine in discarded plastic bottles found along the way, drawing a connection between the large-scale infrastructural attempt to control the flow of water and the uncontrollable flows of her own body. Once back in Boston, Chang made a series of hand-blown glass sculptures modelled on the plastic bottles that she utilised during her journey. For Chang’s exhibition at A Tale of A Tub, a collection of these prosthetic-like sculptures will be presented on the ground floor, reflecting on the flow of water that once passed through the former washhouse alongside Chang’s own ruminations on water as a metaphorical point of departure for geopolitics, human excess and waste.
Despite having been active for only four years before passing away at the young age of twenty-four, Christopher D’Arcangelo (1955–1979) is a key, though lesser known, figure of 1970s Institutional Critique in New York City. Even generations later, D’Arcangelo’s singular approach remains wholly unique in its radicality and generosity. This first estate-approved monograph illuminates his momentous practice after many decades of limited access to the materials surrounding it.
The publication also includes new contributions from figures who have punctuated D’Arcangelo’s practice—such as Peter Nadin, Daniel Buren, Louise Lawler and Janelle Reiring—as well as photographic contributions by artist Heji Shin. Edited by Yana Foqué and Isabelle Sully. Designed by Marc Hollenstein.
Unbidden Tongues #8: Feelers brings together three photographic series by artist and activist Alexis Hunter. In a storyboard-like fashion, her ‘photo narrative sequences’ forensically detail her manhandling of artefacts of patriarchal oppression through the caressing touch of an array of characters: the Marxist wife, an interventionist secretary and a manicured mechanic. Born in New Zealand, Hunter moved to the United Kingdom in 1972 where, at the age of twenty-four, she joined the Women’s Workshop of the Artists Union and invested devotedly in feminist organising alongside her artistic practice.
Programme produced on the occasion of Playbill Act V: Anna Daučíková & Helena Jiskrová at Torpedo Theatre, Amsterdam June 9, 2023.
Completely adept at taking on institutions that wield normative forms of power, Anna Daučíková is unashamedly informed by the value of her lived experience, a personal history that takes a guiding role within her practice, particularly the period of time during which she lived under surveillance in the former Soviet Union.
In an early photographic series titled Acadamey of the Arts (1988), Daučíková rightly takes up her position atop a plinth built into the side of the Academy of Arts building in Moscow, a subversive move given that it was a position traditionally reserved for the male greats. Daučíková went on to become a professor herself, and was for a long time one of the few women teaching at the academy in Prague. This biographical trajectory evolved into a series of films titled Portrait of a Woman with Institution, which plot out the relationships of various women to the institutions they inhabited. For Act V, one film from this series was screened, dedicated to Czech architect Helena Jiskrová. Alongside the screening, four pieces of furniture redesigned by Jiskrová from salvaged street materials set the scene for the viewing.
Programme produced on the occasion of Playbill Act IV: Mieko Shiomi at Torpedo Theatre, Amsterdam March 9, 2023.
Mieko Shiomi is most-known for her substantial contribution to the Fluxus movement, where her investigations into the nature and limits of sound, music and auditory experience began as a student in Tokyo in the late 1950s, during which time she co-founded the seminal postwar Japanese experimental music collective Group Ongaku.
Central to Shiomi’s body of work is the creation of Fluxus editions—printed matter often taking the form of instruction cards and action invitations—and events, for which she gained most recognition in 1960s and 70s after relocating temporarily to New York in 1964 on the invitation of George Maciunas. During this time she began scoring ‘action poems,’ most notably Spatial Poem (1965), whereby she removed musical notation from the score entirely, instead favouring verbal instructions that were to be interpreted by the performer.
Designed by Maud Vervenne.
Edition produced on the occasion of Playbill Act IV: Mieko Shiomi at Torpedo Theatre, Amsterdam March 9, 2023.
Mieko Shiomi is most-known for her substantial contribution to the Fluxus movement, where her investigations into the nature and limits of sound, music and auditory experience began as a student in Tokyo in the late 1950s, during which time she co-founded the seminal postwar Japanese experimental music collective Group Ongaku.
Central to Shiomi’s body of work is the creation of Fluxus editions—printed matter often taking the form of instruction cards and action invitations—and events, for which she gained most recognition in 1960s and 70s after relocating temporarily to New York in 1964 on the invitation of George Maciunas. During this time she began scoring ‘action poems,’ most notably Spatial Poem (1965), whereby she removed musical notation from the score entirely, instead favouring verbal instructions that were to be interpreted by the performer.
Designed by Maud Vervenne.