Beyond Conceptual Art

Jack Smith presented his performance Irrational Landlordism of Bagdad as part of the Cologne Art Fair fringe in the summer of 1977. Many other events were documented photographically and can now be found in the Cologne Art Fair archives - not so Smith's performance.

This book shows him in his fair stall and during his performance for the first time. The pictures are perfect documents of a completely eccentric transaction by this pioneering director and performance artist.

Dutch graphic designer Karel Martens (born 1939) has been an influential figure in the visual culture of the Netherlands for many decades. Alongside his commissioned projects, Martens has maintained a commitment to this personal and iterative way of printing, which shows how creative practice often spans perceived disciplinary boundaries.

For each day of this elegant 2023 calendar, Martens has created a unique abstracted form to serve as a number—originally constructed using his signature method of printing letterpress monoprints from found metal forms, which are then digitized to comprise 365 compositions in total. The piece’s reference to the daily practice of art expresses Martens’ own approach as a designer and educator: “every day is a new day.”

Imperfect Archiving, Archiving as Practice: Queer Bibliographic Explorations is a special expanded 5th edition centering on archiving as artistic practice. This manifesto talks to the core of GenderFail collecting and archiving practices that look to the softness as a metaphor for the material and content of artist-made publications. The GenderFail Archive Project is a socially engaged reading room that looks at archiving as practice. The project stems from GenderFail’s desire to share the publications from their personal library archive and give a platform to other publishers that they cherish. This publication features and highlights over a hundred artist books, art books, and zines.

This edition features a new section previously unpublished, showing bibliographies created for exhibitions and programs with the GenderFail Archive project at spaces such as Wendy's Subway, The Studio Museum of Harlem, and Cleveland Institute of Art's Reinberger Gallery.

This publication also features the 4th edition featured section showing seven curated GenderFail Archive Project reading lists from “Publishing Now,” a class I taught from 2021-2023 at the School of the Museum of Fine Arts at Tufts University. For this course, I wanted the students to read zines and publications being produced in real-time, so I started to digitize my collection as I acquired specific titles that I felt the students would resonate with. Many of the readings for this course were scanned from my collection of over 2,000 zines, artist books, and art books that make up the GenderFail archive. Since we could not meet in person (due to the pandemic), I spent hours scanning zines and artist books to be used as required readings for the course. Each reading list will accompany a link and QR code to read and engage with the complete scanned copies of all 31 featured artist books, art books, and zines.

The Imperfect Archiving, Archiving as Practice: Queer Bibliographic Explorations, is among my most cherished project I’ve published of the over 125 editions I’ve designed and printed with GenderFail.

As everyday white supremacy becomes increasingly vocalized with no clear answers at hand, how best might we approach one another? Claudia Rankine, without telling us what to do, urges us to begin the discussions that might open pathways through this divisive and stuck moment in American history.

Just Us is an invitation to discover what it takes to stay in the room together, even and especially in breaching the silence, guilt, and violence that follow direct addresses of whiteness. Rankine’s questions disrupt the false comfort of our culture’s liminal and private spaces—the airport, the theater, the dinner party, the voting booth—where neutrality and politeness live on the surface of differing commitments, beliefs, and prejudices as our public and private lives intersect.

Living With Ghosts explores the ways the unresolved traumas of Africa’s colonial past, and its unfulfilled project of decolonisation, continue to haunt the present global order. The reader further expands on these complex ideas through philosophical, historical, and literary approaches. Reprinted texts by thinkers such as Achille Mbembe, C.L.R. James, and Sabelo J. Ndlovu-Gatsheni explore the historical experiences of the African postcolony and the problematics of decolonisation. Meditations on artists including John Akomfrah and Abraham Oghobase provide engaging entry points to their multi-layered artistic practices. Also featured are images of artworks in the exhibition and an in-depth conversation between Bouchra Khalili and KJ Abudu.

Texts by Achille Mbembe, Jacques Derrida, C.L.R. James, Sabelo J. Ndlovu-Gatsheni, KJ Abudu, Emmanuel Iduma, Walter D. Mignolo, Avery F. Gordon, Adjoa Armah, Joshua Segun-Lean. Conversation with Bouchra Khalili and KJ Abudu.

In the high-octane essay And Then Comes the Chorus, Jon Refsdal Moe pursues the imagination of theatre opened up by Alfred Jarry when he slipped an ‘r’ into a profanity as he exclaimed ‘Merdre!’ on stage. ‘What matters is that the words became flesh and that this flesh exploded right in the world’s face. What matters is that literature stood up at the Théâtre de l’Œuvre on December 10, 1896 and cried FUCK! and all hell broke loose and the world has never been the same since.’

Jon Refsdal Moe is a writer and dramaturg from Oslo. He has written two novels, one doctoral dissertation, several essays and a lot of criticism. He was artistic director of Black Box teater in Oslo from 2009 to 2016 and is now professor of dramaturgy at Stockholm University of the Arts.

Published by Varamo Press in the essay series Gestures
First edition November 2022
48 pages, 11.0 x 16.5 cm, sewn perfect binding
ISBN: 978-82-691492-8-9
Graphic design by Michaël Bussaer

Les Voies du Paradis rassemble ce qui subsiste d’une œuvre perdue : les seules notes de bas de page d’un texte manquant, laissées par un chercheur après son décès et éditées par Peter Cornell. Ces notes et leurs illustrations forment un ensemble incomplet, qui se donne ici à lire à travers ses manques. Un fil – d’Ariane ? – se tisse entre les diagrammes, les figures de spirales et de labyrinthes – de Cesare Ripa à Ernst Josephson et Robert Smithson, des Templiers aux spirites et aux surréalistes – qui parcourent le texte et se font écho, comme les éléments d’une énigme ou des figures ésotériques. Le « Paradis » dont il est question ici, c’est le rêve de la connaissance absolue, la saisie de l’ordre caché des choses, à laquelle aspirent autant poètes et artistes que mystiques et scientifiques…

Paru en Suède en 1987, Les Voies du Paradis y a acquis la réputation d’un livre culte. Peter Cornell y propose une perspective inédite sur les liens entre art, littérature, spiritualité et occultisme, dans un texte à mi-chemin de l’essai et de la fiction, de l’érudition et de la mystification. La volonté de savoir y est mise en scène comme une quête prise au piège de l’irrationnel ; les notes s’assemblent par logique associative, programme éclectique qui tente encore de retrouver un centre perdu – comme les algorithmes auxquels est confiée aujourd’hui la tâche fantasmée de mettre en ordre les connaissances humaines.