Tried to print the QR code cards again. First we tried the printer upstairs:

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So we went to the previous printer downstairs again. And we decided to print twice to make the color better.

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So I added the information of how to open the code and moved the “EXHIBITION CATALOGUE” down a bit:

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So we decided to make the color darker in the file and print once. We used another printer and the color turned out more stable as well.

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Finally combined all our pages:

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As we set the context as an exhibition catalogue, we decided to print A5 cards with QR code of the publication. Spent a while trying to find out how to generate a QR code for EPUB. Then I found we could only upload the file to dropbox and generate a URL from it and the readers have to download the file to read it.

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We also bought thick A3 paper to print. Tried to figure out how to print them double-sided and automatically filling the paper but I thought it easier just to multiply images in the file and manually turn the paper. I tried to print on free paper first:

But the printer didn’t let our paper go through because it was too thick. It once went through when I used the tray but it wasn’t in the right position… Beatriz managed to set up the paper thickness in the printer and it worked through the tray.

We also discussed about the set up for the launch. Elodie suggested we buy pink table cloth, champagne, plastic glasses and bubble gum alongside the code cards.

The exchange of hair from one bodily territory to another was a way to explore this kind of replacement, displacement and replacement.

THE LIVES WE TOW

The metaphor of displacement.

The plinth is slightly too short for the sculpture, which is the length of the artist’s body. As a result, it doesn’t quite fit – much akin to Harding’s own sense of not belonging.

THIS IS OUR TIME

Doesn’t fit physically and emotionally.

As if to wryly illustrate painting’s capacity to prompt self-reflection, the mirror at the centre of Infinitely Rich Qualities of Mind (2017) is empty – a void for us to fill in.

LEIDY CHURCHMAN Hessel Museum of Art, Annandale-on-Hudson, USA

The effective way to fill void.

THE FOLD

Malone is a naked monad, or almost naked, scatterbrained, degenerate, whose zone of clarity is always shrinking, and whose body folds upon itself, its requisites always escaping him. It’s hard for him to tell what remains in his possession, that is, ‘according to his definition,’ what belongs to him only partially, and for what duration of time. Is he a thing or an animalcule? If he does not have belongings, then to whom does he belong? That is a metaphysical question. He needs a special hook, a sort of vinculum on which he can hang and sort through his different things, but he has even lost this hook.

Deleuze

I’ve hardly understood anything else in this book so far… I like the idea of losing a hook for possessions.

‘The true opposite of the self is not the non-self, it is the mine; the true opposite of being, that is, the having, is not the non-being, but the had.’

Deleuze

The history of emptiness/lack of self-existence.

To have or to possess is to fold, in other words, to convey what one contains ‘with a certain power.’

Deleuze

The relationship between possession and power.

Fixed or attached to an individual dominant, the vinculum in fact determines an individual unity of the body that belongs to it: this body that I have is not only the body of a man, a horse, or of a dog, it is my own body.

Deleuze

What holds the body together and what identifies the body.

But since monads are taken in clusters only under a vinculum, corporal or composite substances require a broader definition that includes the dominant monad, of the first species, insofar as its requirement of having a body is effectively filled by the monads that it dominates.

Deleuze

The relationship between the possession of a body and domination.

However, does it not also happen that material aggregates leave an organic body without entering into another? Or that their monads escape the domination where they were, without for all that entering under without another vinculum? They remain in the state of unlinked monads, without a vinculum. Material aggregates seem to have nothing more than secondary linkages. No longer are they fabrics, but a felt that is obtained by simple pressing.

Deleuze

The state without vinculum.

A LITTLE FRIGHTENING

The establishment, then gradual disruption, of a dancehall rhythm (the last line is spoken after several seconds of silence) is another example of Bernard’s uncanny ability to tap into readers’ or listeners’ expectations and generate new meanings through a frustrated desire for wholeness.

MAREK SULLIVAN

The effect of silence/empty space/pause.

We decided to set the publication as an exhibition catalogue because it fit our texts better. So we updated the editorial, and I updated my pages and did MC’s pages as well:

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Got inspired by:

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It was such a technical day, almost driving me crazy… But finally got everything solved!

So first I tried to change the spiral texts to white in pdf through acrobat and also asked adobe support. But as the file was generated online so somehow the texts got messy when the color changed. Then I found it so much easier to do it in an image in photoshop!

Then I tried to place videos in indesign but the files were too big, same for pdf. So I searched for adding external video urls in both indesign and pdf, and I found the functions were not available anymore. I again contacted adobe support but they confirmed I could only add local files, which were too big. Then suddenly I found a way of embedding youtube videos to indesign! And it worked finally! But the format can only be EPUB that can only viewed in Apple Books and few other reading applications. Hope it’s ok!

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Some layout, citation and biography are influenced by frieze:

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ADAS workshop editorial

Discussed about the symbol of bubble gum:

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And we updated our editorial:

Who are you? How do you exist? Is your social milieu you? Is it your place within society? Or is it a sum of your experiences?

Elodie Carrel, MC Llamas, Ching-Yu Wang and Yan Wang constitute an interdisciplinary group of artists exploring Self-Existence.

In POPPED, you will find a pink jumpsuit, wide eye, a mirror, Polaroids activated through abstracted painting and weaving. The repetition of photographic self-portraits questions the value of self-existence. A frame, neon lights, a hanger, clothes, paper and trash realize the attempts from abstraction to concretion in another series of photographs or performances.

Carrel’s subconscious reflection through name repetition, inner and outer conflicts and drawing without meaning are used to explore the Absurd. The use of weaving and colourful paints on the polaroids of close-up portraits is MC’s way of representing the self through abstract figuration. The blurry uncertainty in Ching-Yu Wang’s photos questions viewers’ thoughts about the meaning of existence. Finally, the attempts of filling up a frame and objectifying the body in Yan Wang’s photography work and performances explore the futility of trying to evidence her existence.

Lecture

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I like a tutor’s explanation about how we can be more creative within a deadline. There’s a playground without boundary and the kids only play in the center while when there’s a boundary, they spread. It’s very vivid and true.