Morning Change

Nº 49 / October 2022

In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.

The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.

In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.

At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November

The artist is reprented by gallery rodolphe janssen

With texts by Phillip Van den Bossche, Filarowska and a conversation between Eva Wittocx and the artist (NL/EN)

Nº 48 / October 2022

sawing a plank is like going for a walk by Kato Six (b. 1986) is published on the occasion of Kato’s solo exhibition at M Leuven this autumn. This book encapsulates 10 years of her quest as an artist.

The work of Kato Six (b. 1986) balances between abstract and figurative art. She works on different themes which she develops into series or ensembles. Architecture, design, domesticity and utensils all act as important references. Starting there, she uses recognisable and everyday materials such as MDF, stone, plastic or textiles.
Kato wants to question certain affinities and let the viewer look at familiar objects or images from a different perspective. As a viewer, you feel connected to the object or image but the actual meaning or function no longer applies.

Some of my works refer to the domestic, especially the most recent ones, such as ‘Carpet Beater Carpet’ and ‘Striped Knitwear’. The invisible work done by “housewives”, but also by workers or maintenance staff, is certainly one of the themes addressed in ‘Carpet Beater Carpet’. The above works are textile works, created with so-called “soft skills”. In the arts, these “soft skills” are often attributed to female artists — women often being assigned a certain medium.
Kato Six in conversation with Eva Wittocx in “sawing a plank is like going for a walk”

She Follows No Progression reflects on the plurality of Theresa Hak Kyung Cha (1951–1982)’s work and legacy, collecting essays, personal narratives, poems, conversations, letters, and the extratextual in a reader that attests to Cha’s genre-bending vision and political imagination. The writers, artists, scholars, organizers, and educators collected here, each unique in their voice and method, multiply approaches to language, colonial history, migration, and time in dialogue with Cha’s unequivocally interdisciplinary practice. Their contributions traverse subjects from Asian American studies to literary history, translation, film theory, and experimental poetics, while attending to the gaps between these fields and the intractable entanglements of race, class, and gender that underlie them. She Follows No Progression echoes Cha’s appeal for a liberatory horizon emergent from all that we are affixed to in the present.

She Follows No Progression is published on the occasion of the 2022 program, The Quick and the Dead: Theresa Hak Kyung Cha Edition. The Quick and the Dead is a yearlong, multiphase project that highlights the life, work, and legacy of a deceased writer by bridging their work to that of contemporary practitioners. In its third year, the program focused on Theresa Hak Kyung Cha.

Contributors:

Sam Cha, Marian Chudnovsky, Jesse Chun, Una Chung, Anton Haugen, Irene Hsu, Valentina Jager, Juwon Jun, Youbin Kang, Eunsong Kim, Youna Kwak, Jennifer Kwon Dobbs, Andrew Yong Hoon Lee, Jennifer Gayoung Lee, Sujin Lee, Florence Li, Serubiri Moses, Jed Munson, Yves Tong Nguyen, Wirunwan Victoria Pitaktong, Brandon Shimoda, Caterina Stamou, Megan Sungyoon, Teline Trần, and Soyoung Yoon.

Produced on the occasion of the exhibition Unbidden Tongues #5: Theresa Hak Kyung Cha: Between the Teeth at Manifold Books, Amsterdam, November 28, 2021 – January 22, 2022.

​Drawing on artist, poet and filmmaker Theresa Hak Kyung Cha’s extensive and largely unexhibited archive of ‘work on paper’, Unbidden Tongues #5: Between the Teeth is a publication-turned-exhibition and the fifth title in the series. From never-realised film scripts to concrete poetry and artists statements written intimately in the first person, the collection of material selected for this occasion presents the varying ways with which Cha drew on her personal and familial experience as an immigrant to conceptually grapple with language and its mediation and suppression, particularly, in this case, in its written form.

Written in the course of the year following the publication of Book of Mutter, and inspired by the lectures of Roland Barthes, Anne Carson, and Jorge Luis Borges, Appendix Project collects eleven talks and essays. These surprising and moving performances, underscored by the sleeplessness of the first year of their child’s life, contain their dazzling thinking through the work of On Kawara, Roland Barthes, W.G. Sebald, Bhanu Kapil, Walter Benjamin, Theresa Hak Kyung Cha, Marguerite Duras, Marlene Dumas, Louise Bourgeois, Doris Salcedo, Jenny Holzer, and more.

In The Book of Na, translation acts at the edge of perception. Tracing across projects in film, video, and performance, Na Mira reflects on the violent fragmentation of bodies while refusing the containment of geographic and corporeal borders. In 1977, a name is cut at an immigration office. This gap turns into an intergenerational score for becoming heat, hexagram, hologram. Using oracular and glitching technologies, Mira witnesses what escapes data: doppelgängers, dreams, endangered tigers, tesseracts, A. Turiyasangitananda Coltrane's stairs, Theresa Hak Kyung Cha in a theater, Korean shamanism, frozen ligaments, wildfires, borderlands, subatomic particles, and pink. Syncing to a clock with neither face nor hands, Mira’s hauntological permutations in time, death, and relation travel outside the symbolic order and draw energy from the void.

Na Mira’s autobody rites have been presented at sites including Seoul Museum of Art; Museum of Contemporary Art, Los Angeles; Portland Institute of Contemporary Art; Participant Inc., New York; and Whitney Museum of American Art, New York. She earned an MFA from the University of California, Los Angeles. She grew up between the US and East Asia and teaches outside.

Born in Korea, raised in the American South, and trying her best to survive British academia, SJ Kim probes her experiences as a writer, scholar, and daughter to confront the silences she finds in the world. With curiosity and sensitivity, she writes letters to the institutions that simultaneously support and fail her, intimate accounts of immigration, and interrogations of rising anti-Black and anti-Asian racism. She considers the silences between generations―especially within the Asian diaspora in the West―as she finds her way back to her own family during the pandemic lockdown. Embracing the possibilities and impossibilities of language, Kim rejoices in the similes of Korean, her mother tongue, and draws inspiration from K-dramas and writers who sustain her, including Yusef Komunyakaa, Don Mee Choi, Toni Morrison, and Theresa Hak Kyung Cha.

Longlisted for the 2025 Andrew Carnegie Medal for Excellence in Nonfiction.

Oracular Transmissions weaves together three of the most recent collaborative projects Etel Adnan and Lynn Marie Kirby have completed through processes of exchange and translation: Back, Back Again to Paris (2013), The Alhambra (2016), and Transmissions (2017). 

The book also includes poems by Denise Newman, a friend to both Adnan and Kirby, and an introduction by Kadist Foundation curator Jordan Stein presenting their works and performances.

FUGUES is a study of objects. Elements repeat and imitate one another like a polyphonic canon of voices narrating stories of domestic confinement in looped time.

With images by photographer Nicole Maria Winkler & texts by artist Issy Wood, writer Ella Plevin, model Freja Beha Erichsen and curator Elaine Tam.

A fascinating account of Lankton's inquisitive, sociological and emotional ruminations in advance of her gender-affirming surgery.

This is one of the earliest of Greer Lankton's (1958-96) journals, sketchbooks and daybooks to appear in the artist's archives, and the first to be published in facsimile form. Written during her time as an art student at the School of the Art Institute of Chicago, the journal offers key insights into Lankton's mind at work before her career-defining move to New York in 1978, where she would become an important figure of the East Village art scene in the 1980s and early '90s with her lifelike dolls and theatrical sets.

Containing drawings, behavioral diagrams and aspirational, occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the 19-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of the days recorded here; days leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity and human behavior.

Le titre du livre « Index of operational and code names » reprend l'intitulé d'un document trouvé sur Internet constitué d'une liste de 437 mots anglais classés par ordre alphabétique et accompagnés de brèves indications concernant les opérations militaires pour lesquelles ces mots ont servi de noms de code.

Ce document a inspiré à Diane Guyot la série « Index War » réalisée selon un protocole simple consistant à produire un dessin pour chaque mot de la liste.

Composé de 86 dessins issus de cette série, certains reproduits pour le support du livre, d'autres présentés au sein d'un cahier photographique tels qu'ils sont aujourd'hui accrochés dans les intérieurs de leurs propriétaires, et d'une partie textuelle placée en fin de volume qui restitue l'intégralité du document source, le livre, comme le suggère la mention volume 1 qui accompagne son titre, ne marque pas le point d'achèvement de l'œuvre mais témoigne au contraire d'un processus en cours.

L'articulation des composantes de l'œuvre dans l'espace du livre en constitue en mème temps une nouvelle version, à la fois spécifique et autonome. L'activation du dispositif codex/index invite le lecteur à une méditation sur la notion de code, où s'entrecroisent sémiotique de l'image, technique de propagande et technologie de l'information.

TYPP is the community journal of Sint Lucas School of Arts in Antwerp. TYPP is partly a generator for the shared research of our advanced master students, and partly a platform for carefully selected contributions by tutors, students, alumni, guest lecturers and friends of SLA. TYPP is a stage where art and research from this community is shared with you, to enjoy, read, look, learn and get inspired. 

Each edition is carefully and freely designed by Ward Heirwegh.