22/3—8/6/2025: https://www.mechelen.be/eye-below-ear
Reading performance on 3/5/2025
7—8/5/2025: https://friart.ch/en/events/2025/semblances-of-the-real
25—29/6/2025: https://www.sipp-ispp.com/call-for-papers-international-meeting-nature-and-its-discontents/
The vitrine at the gallery’s far end frames the installation Overseas (Majestic Fanfare, 1988 version) by Australia-born Brussels-based artist Eleanor Ivory Weber. Three contact speakers are attached inside, roughly at ear height, turning the facade into a loudspeaker. The installation is synced to Sydney, Australian Eastern time. A 9-second orchestral music piece plays every hour between 6am and 11pm AEST/AEDT, with an 18-second version at 7am only. This means that, for the most part, the piece is inaudible during gallery hours, becoming active in the evening and playing overnight and throughout the morning. Due to the opposing shift into summer time in Mechelen and out of it in Sydney, the work’s time frame is pushed forward by an hour twice in the first two weeks of the exhibition, before settling on the cycle 10pm to 3pm CEST.The music piece, titled Majestic Fanfare, was written by British composer Charles Williams in 1935, and since 1952 it has served as the radio news theme for the ABC—Australia’s public service broadcaster. Australian composer Richard Mills was commissioned to reorchestrate Majestic Fanfare on the occasion of the Australian bicentenary commemoration in 1988. That year marked two hundred years since the First Fleet’s arrival at Sydney Cove in 1788, and the founding there of the penal colony of New South Wales.The work’s functioning hinges on its displacement from a familiar cultural and temporal context. Announcing the hourly news elsewhere, it operates like a clock: no content, just structure. The title Overseas (Majestic Fanfare, 1988 version) points to this displacement, as experienced both on the level of one’s biography and national history. The window overlooks Mechelen’s busy street and the monumental cathedral with its famous carillon—another time telling device. Broadcast outward while also resonating inward, the piece interacts with the city’s soundscape and its policies of public space.—Alicja Melzacka, curator eye
belowear, Kunsthal Mechelen, 2025
https://www.wiels.org/en/events/indiscipline-2024
https://cwb.fr/agenda/soiree-fusion
https://www.youtube.com/watch?v=ZGTdW3xx4dM
https://youtu.be/tZ4gV48mlpQ?si=6l98pGWkU5tK85-n
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Eleanor Ivory Weber, 'Riddle', VOSTOK—Now I Am a Lake (ed. Pauline Hatzigeorgiou), SB34, 2024 |
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Eleanor Ivory Weber, Wo Es war, soll Ich werden, archival digital inkjet print on Epson Luster 240 g/m2, 2024 (install shot) |
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Eleanor Ivory Weber & Zaid Arshad, Act, performance (26 October 2024), 2024 |
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Eleanor Ivory Weber, The mouth is a clock without hands (O-R-A-L-I-T-Y), digital prints on paper, 30 x 42 cm, 2020—2024 |
With Asta Lynge and Jakob Ohrt
https://astrid-noack.dk/en/arkiv/?years=2024&id=3849
https://ursuppe.dk/events/91-plenty/
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| Eleanor Ivory Weber, Hook, found clothing hooks transported, 2024 |
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| Eleanor Ivory Weber, Cinnamon, text, multiple locations simultaneously, 2024 |
Eleanor Ivory Weber, Thu, 9 May at 07:31 Just caught the 7.27 at Hamilton. Gets to central around 10. Ok dad Thu, 9 May at 09:22 Hi dad, I’m really sorry but I’m running a bit late!! Will you find somewhere to sit and I’ll come meet you there? K x I’m in the main hall near platform two Ok I’ll be there in 20 mins See you I’ll try and find us a place to sit and have some brunch not too far away Thu, 9 May at 22:03 Arrived Hamilton X Good dad Are u in the car? Fri, 10 May at 00:45 Now home x That’s good. Thanks for visiting dad Sleep well xx Sun, 25 Feb at 12:55 you’ve been to Amsterdam so u probably know I saw on google it’s not too far from station I have my Lack table to carry so hopefully not too much walking! I got this low black laminate square table called LACK It’s an ikea classic from early 80s I will try the boards on there The tournament with my sister is tonight lol Mon 19 Feb. Hello Harper, I am bidding € 4,00 for your ‘Coffee table Ikea Lack black brown 55x55 cm new’. I look forward to hearing from you. Sincerely, evolwe Hello, Your offer is accepted. The table is reserved pending the setting of 1 appointment to pick it up (Braine l’alleud, flexible hours during the day and evening. Hello, thank you very much. Are you free this Wednesday afternoon? Yes, after 2pm. That works, what’s your address? 20 Avenue des Muguets 1420 Braine l’Alleud. Tues 20 Feb. Thanks, it’ll be around 3pm I think. See you tomorrow!, IKEA LACK table, 55 x 55 x 45 cm, multiple locations simultaneously, 2024
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Photo: Strictly Ballroom (dir. Baz Luhrmann, 1992) |
… the sleeper returns to a primary state and attempts to ex-
perience in the dream that which during the day he [sic] kept
under strict control for the sake of reality considerations.1
You wake up, you check your phone, you turn on your com-
puter – maybe you take coffee or pills or cigarette or food
– you go to work, you are at work, you walk there, you surf
there, you are there, there you are. You see the street as
a giant plasma, towering over you. In your nervous system
there exists incredible adaptation to sensation – you will not
perceive your own hand if the nerves are cut. But you will
still learn to scroll the pad. The skyscrapers and smaller
shops bulge and shrink as your eyes scan for points of ref-
erence – seeking safety (always safety) – most often clearly
signed with logos we know like lovers. It’s hard to get lost
on the way to work. Endlessly lounging and rolling around
in bed with F and G, the governors of sex and sense. You
tab constantly so there is always the possibility of more, but
more no longer means more. The authority is there, where
you are, screened; in you to produce and be produced; you
begin to see yourself as the interface you have always been.
The way you’re supposed to think resembles precisely the
lobby of a corporate tower. Which in turn resembles pre-
cisely the interface. This is not the removal of difference,
it is far simpler: the irrelevance of difference. You will be
deleted. A corporate tower is a tower of corps. They fall or
fly according to the logic of the screen. Zeroes and ones.
Tumbling. But the falling is not such that we associate with
the concept of ‘down’, and likewise the flying is not the syn-
onym of ‘up’. Rather, in the screen plasma street dream we
must understand both falling and flying are produced by the
all-encompassing, all-defining interface. Some would call
it horizontality. Equivalence. Homogeneity. Whatever. You
think you fly but someone sees you fall; anyway, falling is
delegitimized and flying impoverished. Touch is you scan-
ning in and out. Checking in. Logging on. Caressing at the
exclusion of all others, to produce more. Monopolisation
of touch makes sense – seems smart to the screen sys-
tem interface. Facial recognition is the logical progression,
whereby all faces must become perfect representations of
the inter-face: a fixed identity. Protected. As you swipe to
enter, type to pass, glance to be scanned and buzzed and
x-rayed and then pushed out the other side (which is not, in
fact, other) to simply more buzzing and beeping and veri-
fication and system confirmation. And you pay to partake.
Your time (which was never really yours) is sold. You buy it.
The time of human becomes malleable; society functions
on the myth of immortality. And the dreams you have no
longer come as reminders of truth because truth is long
dead and the day-work has been turned into the dream – or
all of it into a nightmare sold as dream. Interfaced infinitely
until the nightmare no longer resembles anything except
something we’ve seen and touched before, so fear of the
unknown can be forgotten. Fear reigns. From the inside we
panic, seeking private types to explain our anxiety; as the
interface won’t accept system breakdown, we cannot. We
hide, lie, alone. And the system produces internal safety-
mechanisms for its own failure; it sustains itself by sell-
ing its failure, its inherent ruin, back to itself. Your mortal
panic is no longer something of the world; it is now some-
thing only of you, your interfacing, a problem to be privately
managed. A system error blip, who gives a shit. Purchase
anti-virus software, proxy alias! But we all know this is a
lie, really, nobody believes. Everyone’s just playing along.
But if all this playing is for the sake of reality considera-
tions, what could they possibly be?
—Eleanor Weber, Reality Considerations (for the sake of), 2012
1 Anna Freud, ‘The Meaning of Dreams: Introduction’, Sigmund Freud: The Essentials of Psychoanalysis (ed. Anna Freud), Penguin 1986 (p. 78)
Since 2021, the event was initiated with students of my ReadingListeningSpeaking seminar (est. 2018), taught as part of the Art Practice, Critical Tools (LIENS) Masters program at Erg, Brussels.
https://radio.montezpress.com/#/show/3337
https://www.facebook.com/share/r/17mXZMNRgt/
https://www.differentclass.be/editorials/working-with-time-9am1l
Which aspects of you will we see at Indiscipline?
You’ll see a performance. I often think about montage, creating a cinematic experience. I like to think I am working with time as much as with a specific text, scenario or scenography. Bringing text into temporality by speaking it, when writing becomes reading and speaking. How to work with duration, with an audience, with attention.
Interview and photos by Stine Sampers.
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Photos: Gert Jan van Rooij |
https://www.etablissementdenface.com/wp-content/uploads/2023/11/DELAYTODAY-web2.pdf
https://nicc.be/project/nicc-vitrine-eleanor-ivory-webers-delay-today/
http://instagram.com/delaytoday0311301223
https://www.etablissementdenface.com/in-the-past/eleanor-ivory-webers
https://almasarif.org/no-private-problems/
https://www.contemporaryartlibrary.org/project/eleanor-ivory-weber-at-alma-sarif-brussels-28709
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| smoking is good, 2023, performance with James Weber on violin (reservation necessary, 2€ coin for entry), approximately 20’. Photo: James Weber. Photos in photo: Sara Deraedt. |
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| in language there are only differences except that there is also, 2023, texts on LED sign, voltage converter, approximately 12’ loop. Photo: Fabrice Schneider. |
An exhibition as text, in texts.
https://fb.me/e/3ZPr2Qi0N
https://kunsthauskule.de/M-I-mi1glisse
http://mi1glisse.com/multi/no-private-problems/eleanor-weber/
https://www.facebook.com/mi1glisse/photos/a.438973332951576/531685393680369/
Contents/Consent (manufacturing the missive), 2002/2020
A3 photocopy, unlimited edition, recto verso: contents page of E. Herman & N. Chomsky’s Manufacturing Consent (2nd edition), protocol poem using Consent, page 1 of The New York Times International Edition (25 August 2020)
Seven poems [O-R-A-L-I-T-Y] or “I would say (write)” [Ong], 2019
A5 prints from an unlimited edition, wheat paste
Individual piece: 15 x 21 cm; Wall piece: 846 cm x 70 cm
