Sunday, 22 December 2024

Riddle (2024)

What is written is literalising the knots, not to be mistaken for what is spoken, that is verbalising the knots. What that means, if you write it, I mean, is that you know if the knot is a knot or not. And what that means, if you say it, I mean, is that you do not know if the knot is a knot or not. Or maybe you do know, because there are other words around the knot and they make you almost sure that the knot is a knot. Although things should not be reduced so easily to the distinction I have just established between written–known and spoken–unknown. Indeed, in both cases the opposite may be true. Spelling mistakes happen. Mishearing happens. But, if you did know it was a knot, and not a not, how would you know? You would know because knot is a specific concept that is used, as it were, in specific contexts. It is used much less often than not, and in quite different ways. Is it? And it is also much less and much more mutable than not. Less mutable in that the knot is a noun or a verb, and you will hear or read the difference, with or without knowing it. You will know/hear it is not not, for not is mostly paired with or referring to a verb, whether you know it or not. It could even be paired with to knot. Not also mostly needs a subject—attention, not always! It can also take an imperative form, where the subject is absent, except as the present enunciator. And sometimes even the enunciator is absent, as in signs saying do not walk, in which case is there a subject that writes or speaks the not? The knot refers to something specific in mathematics, in navigation, in psychoanalysis, in philosophy—what does the not refer to? Does it have a referent? Not in the same way. That’s how we can distinguish a noun from a not. There is also a matter of temporality that we could say knots have and nots do not. How many knots suggests a duration and a distance, in order to make sense, whereas there cannot be a quantity of nots that changes the significance of the not. More or less knots makes a difference in reality, more or less nots is, in the end, the same negation as one not: I am not-not-not-not going to tell you!
Alas, you are mistaken, adding nots can change the significance of the not! While
I am not not going to tell you does not mean I am going to tell you, it also does not mean I am not going to tell you. And a quantity of knots can become meaningless, like accumulating, accumulating. What? I mean, not all knots have any relation to duration, you know. I disagree. Knots, whatever the kind, must be repeated. 
Eleanor Ivory Weber

https://www.youtube.com/watch?v=ZGTdW3xx4dM

https://youtu.be/tZ4gV48mlpQ?si=6l98pGWkU5tK85-n 

Tuesday, 23 July 2024

Good Morning, Midnight on LYL Radio

https://lyl.live/episode/good-morning-midnight-10

JOHN PAUL YOUNG — Yesterday’s Hero
JAKUB JÓZEF ORLIŃSKI — Vedrò con mio diletto (Il Giustino, Vivaldi)
LOVEFEAR — World Peace
PELICAN DAUGHTERS — It’s time my friend … (track 2)
BASTARDGEIST — Dog
FUGAZI — I’m So Tired
BOBBY CHRISTIAN AND HIS ORCHESTRA — Drums Galore
PSYCHIC TV — Just Drifting
CHE VUOI — Angoli
WET KISS — Another Day
SUMI JO — Sposa son disprezzata (Bajazet, Giacomelli/Vivaldi)
SPEED TRAINING — High Treason
LEONARD COHEN — Who By Fire (feat. Janis Ian)
PELICAN DAUGHTERS — It’s time my friend … (track 4)
BIANCA STONE — Why Poetry Needs Psychoanalysis (interview Daniel Tutt, Emancipations Podcast)
THE VERVE — Bitter Sweet Symphony

Photo: Strictly Ballroom (dir. Baz Luhrmann, 1992)

Tuesday, 9 April 2024

DELAY TODAY on Montez Press Radio

https://radio.montezpress.com/#/show/3337

https://www.facebook.com/share/r/17mXZMNRgt/


Alenka Zupančič, Evol & gladys, Ghislaine Leung (with music by The Notwist, Che Vuoi, and Kvantum)
Eleanor Ivory Weber's DELAY TODAY
46 Canal Street, New York
 
Eleanor Ivory Weber's DELAY TODAY
1. Alenka Zupančič, lecture, 16 December 2023 [01:37:29]
2. The Notwist, Your Signs [06:46]
3. Evol & gladys, performance, 2 December 2023 [25:16]
4. Che Vuoi, Angoli (unmastered) [03:25]
5. Ghislaine Leung, conversation, 18 November 2023 [01:32:55]
6. Kvantum (Paul Sigerhall and Stefan Tcherepnin), Kvantum KAS Vol. 1 (excerpt) [12:55]

DELAY TODAY is a program of videos and events that took place in two Brussels art spaces, Etablissement d'en face and NICC, in November and December 2023. Video works by Dora Budor & Noah Barker, Tony Cokes, Stefano Faoro, Harun Farocki & Andrei Ujică, Laleshka Salas Salazar, and Camilla Wills were screened at Etablissement d'en face from 18 November through 17 December 2023. Events with Evol & gladys, Ghislaine Leung, and Alenka Zupančič took place at NICC on three Saturday evenings. The musical interludes are from works in the program: The Notwist appears in Tony Cokes' Shrink! 1.1-4 (2001); gladys is the artist behind Che Vuoi; and music by Kvantum appears in Chase Manhattan (2021-22) by Dora Budor & Noah Barker. Recordings of the three events are mastered by Nelson Beer. Full program details can be found at the links below.
 
Alenka Zupančič is a Slovenian philosopher and social theorist. She is the author of What Is Sex? (MIT Press 2017) and Let Them Rot (Divided 2023).
 
Evol & gladys are artists living in Brussels. They previously made the performances Word without Return (2019) and Night Songs (2021) together.
 
Ghislaine Leung is a British conceptual artist. She is a nominee for the 2023 Turner Prize. Her latest book is Bosses (Divided 2023).
 
Eleanor Ivory Weber is an Australian artist and writer. With Camilla Wills, she runs Divided Publishing. She organised DELAY TODAY.
 

Working with time, Different Class

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.

Wednesday, 12 April 2023

No Private Problems, Alma Sarif, Brussels

https://almasarif.org/no-private-problems/

https://www.contemporaryartlibrary.org/project/eleanor-ivory-weber-at-alma-sarif-brussels-28709

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.

in language there are only differences except that there is also, 2023, texts on LED sign,
voltage converter, approximately 12’ loop. Photo: Fabrice Schneider.

Monday, 20 February 2023

No Counting, No Lists, No Competition, Immeasurable Suffering, Late late motherfuckinelegist/Duuu radio, Paris

No Counting, No Lists, No Competition, Immeasurable Suffering (I Covering, II Before, III Cinnamon, IV Dancing)

Recorded live at Parc de la Villette, Paris, 18 June 2021: https://duuuradio.fr/archive/late-late-motherfuckinelegist (Click "Écouter", 41'00 until 52'00).

Published by How To Become (2021), p. 41.

Monday, 1 August 2022

Schaufenster, Kunstverein München

https://www.kunstverein-muenchen.de/en/program/schaufenster/2022/eleanor-ivory-weber


The mouth is a clock without hands

A city skyline is silhouetted against a pink sunset, the lights of the buildings are reflected in the water below, which looks purple. An aeroplane flies out of the frame on the top left of the image, taking off somewhere. It is a warm image, feels like summer’s coming, that feeling at dusk when the night is full of potential and we don’t know what will happen.

In the same movement reportage bears witness to the world and consumes it. It is also a technique for making equivalences out of what is irreconcilable. I keep track of the dates when important things happen as a way to remember how the past shows up today. All the while I am trying to understand how repetitions, forgetting and suspended apprehension are equally part of personal and public events, places and products.

Everything that enables us to record, witness and claim history, also enables us to miss it. The news form is fatal and always precedes the catastrophe of its daily content. Be wary when your senses are trivialised by the marching gait of development, algorithms for ‘personal preferences’ or the hegemony of the new. Grief is not objective.
(EIW)



Recognise this city?
2022
Poster found 7 December 2018 in the old Actiris building in the centre of Brussels, black and pink vinyl, ‘Ee’ typeface based on my handwriting designed 2016 by Ella Sutherland, 16 neodymium magnets
98 x 68 cm, dimensions variable


The mouth is a clock without hands

2022
Digital prints
15 x 15 cm 



Daily news, “All the News That’s Fit to Print”, 14.04–05.06.2022, Munich
2020–
The New York Times International Edition purchased each day the exhibition is open to the public


Overseas (Majestic Fanfare, 1988 version)

2022
ABC Radio news broadcast theme played on the hour between 6 am and 11 pm (AEST), 9-second abridged version, 18-second main version at 7am only

Sunday, 31 July 2022

Saturday, 30 July 2022

Supply and supply, Brussels, Munich

Maison Pelgrims, 14 October 2021, 18:00
http://saintgillesculture.brussels/events/exposition-rosa-rosa-rosae-rosae


 
 
Supply and supply, 2021
performance, approx. 30 minutes

Monday, 7 September 2020

Kunsthal Gent, Ghent

http://croxhapox.org/c/taxonomy/term/2540
https://kunsthal.gent/en/exhibitions/thirsty-thirsty-1-looking-at-the-letter-a
https://www.facebook.com/events/3339107969433849/

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)

Wednesday, 26 August 2020

Damien & the Love Guru, Brussels

 http://www.damienandtheloveguru.com/exhibitions/slow-reading-club-soft-cover-soft-cover

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

Daily news (“All the News That’s Fit to Print”) [10.01 – 28.02.2020, SCSC], 1887 –
The New York Times International Edition purchased each day the exhibition is open to the public, paper pedestal
35 x 26 cm