Womb Consciousness

KILOBASE BUCHAREST A-Z is a publication which is describing Bucharest through a sort of experimental alphabet book: for each letter of the English alphabet, artists, writers, architects and researchers were invited to choose a key term and develop a contribution representing a sliver of the Romanian capital city, capturing a polyphonic set of perspectives on the infinite facets of a city whose identity is notoriously difficult to define.

Contributions by: Irina Bujor, Serioja Bocsok, studioBASAR, Iuliana Dumitru, Ștefan Ghenciulescu, Kilobase Bucharest, Apparatus 22, Mihnea Mihalache-Fiastru, Ștefan Constantinescu, Sabine Bitter & Helmut Weber, Gruia Bădescu, Ioana Ulmeanu, Decebal Scriba, Sillyconductor, Prosper Center, Geir Haraldseth, Jimmy Robert, Karol Radziszewski, Lea Rasovszky, Ștefan Botez, Simina Neagu, Bogdan Iancu, Andrei Mihail, Mihai Lukács, Mihai Mihalcea, Cosima Opârtan, Juergen Teller, Hans Leonard Krupp.

The publication also includes a republished insert by late artist Ioana Nemeș, and three reprinted contributions previously published in Kilobase Bucharest A-H (Mousse Publishing, 2011) produced on the occasion of "Image to be projected until it vanishes" exhibition at Museion Bolzano.

A weaving draft is a kind of notation for planning and sharing woven textil structures. The threading, along the top, shows how the warp is threaded through the heddles and frames; the treadling, along the right-hand side, show the order in which the treadles of the loom are to be pressed; and the tie-up, in the upper right-hand corner, shows how each treadle interacts with the loom’ frames. The drawdown, in the lower left, shows whether the warp or weft will be on top at any particular intersection of threads—thereby providing a “preview” of the completed textile. Often a draft diagram will indicate the intended color of the warp and weft threads, and the drawdown will show the completed textile’s color patterns. In “Drafts,” Allison uses letters instead of colors, melding digital weaving with writing.

WITHOUT THE E is a series of pamphlets responding to a presence or an absence felt in contemporary digital culture.

Publication accompanying the exhibition Gernot Wieland (08.02.-05.07.2020). 

One can summarize Gernot Wieland and his work as an intertwining of the man, the artist, and the artwork. With Gernot, we experience in his artwork and in his presence more of a quiet, constant fascination with what is around him and what has affected or influenced or indeed shaped him sinde his childhood. These impressions - whether quirky memories or indeed tragic experiences and the non-stop grappliing with what has happened - arise in his artwork or in his conversation, whether directly or not. Alongside self-analysis and presentation through his artwork is an analysis of societal norms and indeed repressed aspects of society as it expresses itself, even violently, in hegemonic structures - in the classroom and upon children, for example. From his sketches or film narratives we catch a powerful glimpse upon a concentration of trauma, repression, and guilt placed upon his generation, an Austrian condition manifesting itself in obscene and absurd ways.

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.