Professional Documents
Culture Documents
Ken Davidson
Submitted in partial fulfilment for the degree of
Masters of Research in Creative Practice
The Glasgow School of Art
2008
p2-101 Thesis
p102-115 Additional Illustrations
p116-117 Abstract
p118-121 List of illustrations
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1. INTRODUCTION
I am using Dada. I am not using this term, Dada, as
something to say Fluxus or Neo-Dada. I am not saying that
this is socially-engaged practice1, littoral art2, or relational
hobby-horse
1 As Beuys’ social sculpture. See for example Beuys, Joseph, Energy Plan for the Western Man : Joseph Beuys in
America : writings by. New York: Four walls eight windows, 1990 .
2 See Kester, G, Dialogical Aesthetics: A Critical Framework For Littoral Art in Variant 9, Winter 99/00. Available
from <http://www.variant.randomstate.org/pdfs/issue9/Supplement9.pdf>
3 Bourriaud, Nicolas. Relational Aesthetics. Paris: la presses du réel, 2002.
4 Hartley, M, The Importance of Being ‘Dada’. From Adventures in the Arts: informal chapters on painters,
vaudeville and poets. New York: Boni and Liveright, 1921. Pages 247 – 254. <Available from
http://en.wikisource.org/wiki/The_Importance_of_Being_Dada>[Accessed 20/8/8].
5 Francis Picabia. Quoted in Hartley, op. cit.
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2. Алэксандра Мир
6 Gilles Deleuze and Feliz Guattari, trans. G. Burchell and H. Thomlinson, What is Philosophy? (Verso:London and
New York, 1994), Chapter 1.3, pp61-83.
7 Umberto Eco, Umberto, The Limits of Interpretation. Indianapolis: University of Indiana Press, 1990, Chapters 4,5
and 9.
8 Tristan Tzara, Dada Manifesto, 1918. In Tzara, Tristan, Seven Dada Manifestos and Lampisteries, trans. Wright, B.
London: John Calder, 1992. p4.
9 “As a young female artist, you start out tragically with all odds against you, and everyone needs to know that so
that they can help you.” Aleksandra Mir. Quoted in Silvia Sgualdini, How To Do Something With Nothing, UOVO,
Torino, Dec 2006. <Available from http://www.aleksandramir.info/texts/sgualdini.html>[Accessed 24/8/8].
10 Ibid.
11 As a press release from 2006 puts it “Aleksandra Mir [ … ] presents her ongoing dialogue with old friends and new
acquaintences (sic) as she performs her life of a stranger in constant confrontation with foreign Societies (sic), where
her negotiations, trials and errors continuously create new forms of cultural expression.”Press Release for
Aleksandra Mir Organized Movement, Galerie Laurent Godin, Paris, 2006 <Available from
http://www.artnet.com/galleries/Exhibitions.asp?gid=424465892&cid=86813>[Accessed 4/8/8].
Or Lars Bang Larsen in 1998: “Mir connects ideas about leisure culture and labor life in a situation, which is both
metaphor and productive circumstance.”Lars Bang Larsen, MOMENTUM catalogue, 1998. Quoted in Aleksandra
Mir, CV. <Available from http://www.aleksandramir.info/cv.html>[Accessed 22/8/8].
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3. A BRIEF HISTORY
12 «I think that artists are the elite of the servant class», Jasper Johns. Quoted in Crichton, Michael, Jasper Johns.
New York: Harry N. Abrams, 1977, p17.
13 Aleksandra Mir, CV. Op cit.
14 As <red> is <red> and <beautiful>.
15 Margarita Del Giudice, Persia: Ancient Soul of Iran, National Geographic, August 2008. <Available from
http://ngm.nationalgeographic.com/2008/08/iran-archaeology/del-giudice-text>[Accessed 18/8/8].
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4. Publishing
16 “I am interested in self-publishing, ephemera, and other forms of popular distribution, things I have been involved
in since I was 11 years old, before I even knew what art was.” Sarah Douglas, Newsmaker: Aleksandra Mir
www.artinfo.com, Sept 20, 2007.<Available from http://www.aleksandramir.info/texts/douglas.html>[28/8/8].
17 For New Designs, 2005 <Available from http://www.aleksandramir.info/projects/new
%20design/index.html>[Accessed 18/8/8]
18 You Can’t Hurry Love, 2003 <Available from
http://www.aleksandramir.info/projects/canthurrylove/canthurrylove.html>[Accessed 18/8/8]
19 The Meaning of Flowers, 2006 <Available from
http://www.aleksandramir.info/projects/meaningflowers/meaning.html>[Accessed 18/8/8]
20 I Love Love, 2004 <Available from http://www.aleksandramir.info/projects/ilovelove/ilovelove.html>{Accessed
18/8/8].
21 Bremen, 2005 <Available from http://www.aleksandramir.info/projects/postcard/postcard.html>[Accessed 18/8/08]
22 Gentlemen, 2007 <Available from http://www.aleksandramir.info/projects/gentlemen/gentlemen.html>[Accessed
24/8/8].
23 Daily News, 2002. <Available from http://www.aleksandramir.info/projects/dailynews/dailynews.html>[Accessed
27/8/8].
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5. Some More Books
Corporate Mentality, (2001) was edited with John Kelsey and published by Lucas
and Sternberg in New York., The book documents the emergence of recent
practices within a cultural sphere occupied by business and art.24 There are
multiple contributors. And therefore voices?
Living and Loving is a series produced since 2002 with curator, Polly Staples.
Here, Mir presents as biographies her interviews and the personal photographs of
3 individuals on the periphery of the “art world”. Her subjects? A security guard,
the daughter of an art collector, and an art student. The resulting fanzine type
magazines were distributed free through galleries and arts centres within different
group shows and art fairs — in editions of thousands. Mir continues working on
the series.25
A booklet, How to be a Joshua Tree, (2003), was produced for participants of the
High Desert Test Sites, Spring Event 2003 (a laser-printed edition of 125, 12pp).26
Here, in the video stills forming the pages, Mir climbs on a graffitied rock. The
video is the first instance of a longterm project, Home Road Movies.
Carrying on, A Voyage Towards South Pole and Round The World (2005)
constitutes, in effect, Aleksandra’s sketchbook and records of fragments of
conversations on a group trip to Antartica 2005 with Pierre Huyghe. Mir originally
produced this for the group as a present and in a limited edition Xerox publication
(17 copies). A copy is now held in the library of the Explorers’ Club, New York.27
24 Aleksandra Mir and and John Kelsey, Corporate Mentality, New York: Lukas & Sternberg, 2003 and online:
<Available from http://www.aleksandramir.info/projects/corporatementality/corporate.html>[Accessed 18/8/8].
25“We continue working on the series but we are only able to put a new issue out every two years or so.” Aleksandra
Mir , How To Do Something With Nothing, An interview by Silvia Sgualdini, UOVO, Torino, Dec 2006.<Available
fromhttp://www.aleksandramir.info/texts/sgualdini.html>[Accessed 8/8/8]
26 How to Be a Joshua Tree, 2003 <Available from http://www.aleksandramir.info/zips/pdfs/joshua.pdf>[Accessed
18/8/8].
27 A Voyage Towards South Pole and Round The World , 2005 <Available from
http://www.aleksandramir.info/projects/antarctica/voyage.html>[Accessed 18/8/8].
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6. NAMING TOKYO
Let’s say that Aleksandra’s aesthetics are open. DIY? But here while we are
noting Aleksandra’s publishing, let’s note also Naming Tokyo 28 as a central
work. Commissioned by Nicholas Bourriaud for the Palais de Tokyo, Paris,
2003, Aleksandra invited street names from curators, artists, gallerists, friends
and acquaintances. Tokyo, famously, has no street names;29 Aleksandra has
never been to Tokyo.30 Aleksandra assigned her new names to her map. The
Palais printed the maps free for visitors. At the New York Swiss Institute, for
Naming Tokyo II, 30 favourite names were turned into New York-style street
signs: CUT & SLASH, MY WAY, NOBO-PUNKATURE.31 32 33 What does it
mean to give a street a name?34 Is Tokyo different?35 And New York? Can
we say that Mir is attempting to deterritorialise.36 But let’s note, Mir’s books
are also on the internet, on her site, <http://aleksandramir.info>.
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(1) Daily News, New
York, 2002
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(2) Plane Landing (Zurich), helium inflated balloon, 2008
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(4) Collage from Aim at the Stars, collages on board
with gold leaf frames, dimensions variable, 2008.
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(5) Collage from Aim at the Stars, collages on board
with gold leaf frames, dimensions variable, 2008.
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6. 2008
Let’s go on.
This year, 2008, Aleksandra has shown her Plane Landing at Zurich
airport,37 shown icons collaged with images of satellites and rockets for
Sao Paolo, Brazil,38 and with Lisa Ann Auerbach, made marzipan repairs
to classical statuary in Naples39.
In October, 2008, the Mary Boone Gallery, New York will host a new
solo show, The White House.40 And November 2008, Lisboa20, Lisbon,
another solo, Mandalas and Incense holders.41
【】
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(6) Installation view from Newsroom, 2007
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(8) Mandalas, 2007
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(9) Marzarama, 2008
(10) Marzarama,
2008
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(12) Narvik Superstars, 2007
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(14) Sicilian Pavilion, 2007
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8. 2007
In 2007, at Mary Boone Gallery, New York, a live studio of assistants produced giant
hand made pen drawings copying archived covers from the New York Post and Daily
News.42
The year includes other drawings. Giant hand drawn mandalas for Lisbon,43 giant hand
drawn maps of the Mediterranean,44 drawings of roses;45 designs for souvenirs.46 A busy
year? But this was not all! In Cadiz, Spain, one thousand couples’ and lovers’ initials
were completed on 1000 trees.47 In Narvik, Norway, a small port city on the edge of the
arctic circle, a thousand Hollywood-style stars were set on the dockside in her project,
Narvik Superstars.48 A present from Aleksandra Mir?
And other art work in 2007? A booklet on the art scene in LA (after Harold
Rosenberg),49 a calendar documenting the 2006 project, Gravity,50 a marzipan car
accident51 (with Lisa Ann Auerbach); and going to Venice in a vintage Rolls Royce.52
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(16) Installation view,
Mouvement Organisé, 2006
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(20) Treasure Island, marker on paper 150 x 180 cm, 2006
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9. 2006
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10. Perruque
◑
60 Michel De Certeau, The Practice of Everyday Life, Berkeley: University of California Press, 1984, pp24-30.
61 “My ideas are constructed as paradoxes that will always evolve around themselves, so as far as my philosophy
goes, it can't really be corrupted or fail. I can easily let other people project their desires, engage their opinions, use
their economies and form their own meaning through individual or local relationships to the work without ruining
my intentions. In fact, I completely rely on all these relations to be able to pull anything this complex off at all.”
Aleksandra Mir in conversation with Claire Doherty, 2003. <Available from
http://www.aleksandramir.info/texts/doherty.html>[Accessed 24/8/8]
62 Lonesome Cowboy : a 1994 performance on Gothenburg tram tracks; Aleksandra is lying with her head on the
tracks, a stetson over her face, — she is a cowboy resting. There is a passer-by.
<http://www.aleksandramir.info/projects/cowboy/cowboy.html>[Accessed 26/8/8].
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(21) Lonesome Cowboy, 1994
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(22) Hostesses by the Ullevi sports
arena, Life is Sweet in Sweden, 1995
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(24) Homeboys, snowmen, 2001.
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11. Before
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12. 2002
In 2002, but before The Daily News, Aleksandra had begun working with
Cameron Balloons in Bristol to build a 20m long helium balloon in the
shape of a jumbo jet. Plane Landing, the project, is just that: a 20m long
helium balloon in the shape of a jumbo jet. First inflated as a temporary
installation at Compton Verney Trust, Warwickshire in 2003, it appeared
again “in public” at Zurich airport in 2008.77 The plane is inflated and
deflated two or three times at each site. Any photograph can thus only catch
a moment. Mir had worked on the project for two years previous.78,79
75 Daily News. Op cit.
76 May 11, 2002 Dear Friend,/September 11th is my Birthday, but to celebrate it this year will be a double effort. So to
mark and reclaim the date, I am publishing a tabloid newspaper and organizing a party./ Everyone I know is invited
to contribute articles and images to this. Gavin Brown in New York and Cornelia Grassi in London are the
publishers, and I am the editor, with the policy of printing ANYTHING you send me, in the manner of accepting a
gift and to simply celebrate that we are around still working. / I am not looking for any rehash of what the media has
produced and served us, but for stuff that fell through the cracks or took off on its own: The personal, the strange
and the beautiful, changing, maybe not, our lives this past year./ Stories can come in any form, and on any subject
you see fit, not to be addressed to me, but as in a real paper, to the world. Texts of 1–500 words, b/w drawings and
photographs are welcome, everything to be arbitrarily combined and set in a tabloid newspaper format. Think: The
Daily News with columns, notices, ads, local and international letters, gossip, classifieds (see categories in any
newspaper), news and reviews, lots of pictures and with a headline that reads: HAPPY BIRTHDAY! Ibid.
77 Plane Landing, 2008 <Available from
http://www.aleksandramir.info/projects/planeswitzerland/plane.html>[Accessed 18/8/8].
78 “The balloon, when fully blown up, depicts a plane frozen in a permanent state of landing. I am trying to make this
thing stand still, floating in the air. This defeats so many principles of sculpture, ballooning, and aviation. They told
me for two years, "No, you can't do this," and finally Cameron Balloons in Bristol did it. The perfect balloon is a
sphere. We built a cross. A plane is designed to carry 5,000 tons of steel. We filled it with helium.” Bollen,
Christopher, Interview with Aleksandra Mir, THE BELIEVER, San Francisco, December '03 / January '04.
<Available from http://www.aleksandramir.info/texts/bollen_believer.html>[Accessed 27/8/8].
79 ‘I had the idea here in England, when one hazy morning on the train from London to Bristol, I saw several back-lit planes at a
distance, appearing one by one, seemingly suspended, completely motionless in the sky but obviously in the process of landing.
They made me think about physics, illusions, places, non-places, transitions, travel, tourist cultures, leisure economies, the
behavioral patterns of the art world, kite flying, ballooning, park games, escapes, exiles, states, stateless-ness. I could talk about
ALL of that while simultaneously further the proud tradition of women in aviation.’Jetzer, Gianni: Interview with Aleksandra
Mir, Let's see what happens and who will be there, invitation brochure, 2003. <Available from
http://www.aleksandramir.info/texts/jetzer.html>[Accessed 21/8/8].
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(26) Plane Landing, 2003
Also around now, 2002, after HELLO, before the Daily News, Mir
was beginning work on another project, The Big Umbrella. The Big
Umbrella was to be an umbrella twice the size of the largest man’s. It
was produced with Jousse Entreprises, a gallery, in Paris.80 Across
2003-2004, Aleksandra travelled with her Big Umbrella. She had her
photographs taken — in Paris, London, Copenhagen, Dresden, New
York and Martinique81. The umbrella finally blew up in on itself on
Martinique, broken. Mir didn’t mind. For her, either way, it was a
sculpture82.
80 Mir, Aleksandra, The Big Umbrella. Paris:onestarpress, 2007, p155. <Available from
http://www.aleksandramir.info/pdfs/pdfs/umbrella_low_res_web.pdf>[Accessed 27/8/8]
81 Ibid. p3.
82 Jamaldin, Sharifa, Aleksandra Mir, ReadBABY SurfBABY, Amsterdam, 2004. <Available from
http://www.aleksandramir.info/texts/jamaldin.html>[Accessed 23/8/8]
83 Smith, Roberta ‘New York Stories: Art Torn Screaming From the Headlines, Then Hung on Walls’. In New York
Times, 20th October 2007. Available from <http://www.aleksandramir.info/texts/smith_roberta.html> [Accessed
7/8/8].
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15. Conceptual Machines
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16. ∴
☠
A few glimpses of what is happening, and then keeping in mind to
rotate our subject a little: since 2006, Aleksandra Mir lives in
Sicily, Palermo.95 This is 2008. Is it not Virillio who talks about the
suppressed accident? For a while, let’s call Aleksandra Mir, ∴.
This is a stratagem of performance art, body-based art: to shift
identities, to question character.96 We can pretend ∴ is also .
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17. THE FIRST WOMAN ON THE MOON
The First Woman on the Moon (TFWOTM) was a land art and
performance event taking place across 10 hours on 28 August
1999 on the man-made beaches of Wijk aan Zee in the
Netherlands. In the morning, ∴ makes a rough, model crater in
the sand at the feet of assembled plant operators. Ten bulldozers
then improvise a dozen odd lunar craters across a 200 x 300m²
section of the beach. Across the day, — alongside the excavation
— participants and public collect broken glass and garbage
revealed in the sand. This collection is laid out on tables as an
impromptu “Museum of Lunar Surface Findings” — examples
from which Mir also later preserves. Children, passers-by,
workers, crew, journalists, 4 companion women astronauts and
artist attend as excavation continues. 10 hours after the start, at
sunset, to an accompaniment of drums, a ring of children around
her, ∴, TFWOTM, ceremonially fixes the Stars & Stripes on the
ridge of a crater. ∴’s 4 companions have uniform-styled, short,
white astronaut dresses — just as ∴ is dressed — only∴ has a
Hasselblad around her neck. From the crowd, others ascend the
ridges, “The First Black Man on the Moon”, “The First German
on the Moon”, &co. The site is returned to its prior state for the
next day (after performance). Once again, Wijk aan Zee is a man-
made beach on the North Sea.98 Let’s note the doublings and
dislocations, our obstacles: the lunar surface, the Hasselblads,
and ∴’s fragmentation — her companions in self-same uniforms
like Life is Sweet (in Sweden)?99 The video is available on the
internet.
98 Ibid.
99 Life is Sweet in Sweden, 1995 <Available from
http://www.aleksandramir.info/projects/lifeissweet/life.html>[Accessed 24/8/8].
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(28) The First Woman on the Moon, 1999
♀
❍
19. Land Art
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20. ♬
You can see the Moon during the day some times, but you can’t always
see it better in the dark. Do you see it in photographs? Are these not
simply records? Indexical? This is one of the ways with ∴. It’s necessary
to turn what she does around in one’s mind.
♬
21. VIRUSES
A foot on the Moon, a sole in the dirt, barefoot on moon dust, ∴’s work
opens continually to questions. ∴ becomes ∴. Is Art not now produced
increasingly as temporary, site-specific events, serial programmes of
such?101 And this Bourriaudian notion of relation? Around the German
concept of the artist? And the French of Spectacle? Is it not more
institutional? Kultur and Civilisation?102 Within a continuum? A plateau?103
Was this not always so? What does going to the beach mean? A holiday?
What is a holiday?104 In visualising are we not between languages? I am
using questions because our answers are open: unclosed. All the events at
the beach, all the connections the work makes, these all are part of the
work. Aleksandra’s plateaus? Her rhizomes?105 Her academicism?
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22.☭
☭
Let’s carry on, in the Netherlands, outdoor and site-specific
theatre are one visible and continuing legacy of the Tomato
Revolution106. Can The First Woman on the Moon not be read
within existing histories of this107? Does it not also extend the
gaze? So, let’s quickly also acknowledge parallel other histories
not only in New York, but internationally.108 And let’s also note
the presence of Theatre Anthropology as a discipline, notions of
social sculpture and historical schools of artists. Things are
complex, histories are multiplicities. We need to be quick. There
is some difficulty here, in the legacies of the artefact. Aleksandra
uses universal references. Her work is often as much an event as
a record.
106See for example, Rudy Engelander, The Theatre in the Netherlands: From Crisis to Crisis, or Peter Eversmann,
Theatre on Location in the Netherlands.Both in Western European Stages, Summer 1994, Vol6 No2. pp5-9 and
35-48
107 A Utrecht cultural office producing contemporary art projects, Casco Projects, produced alongside Inaxi, a sand
scultpure organisation in The Hague. Advertisement, The First Woman on the Moon, Artforum, Summer 1999.
108For example Philomena Mariani, ed. Global Conceptualism: Points of Origin, 1950s-1980s. New York: Queens
Museum of Art.Or Ferguson, Russell, ed. Out of Actions: Between Performance and the Object 1949-79. Los
Angeles:MOCA, 1998.
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23. Broadcasting to the world
☢
109For example: Thom Shanker and Mark Landler, Putin Says U.S. Is Undermining Global Stability. New York Times,
February 11 2007. <Available from http://www.nytimes.com/2007/02/11/world/europe/11munich.html>[Accessed
27/8/8].
110To alter McLuhan slightly: every medium contains every other.
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24. Space. Budget. Valentina Tereshkova.
〷
The entire project budget for TFWOTM was spent on a half-
page advertisement in Artforum.111 If all the money was spent,
how was the performance produced? Let’s note here,
Aleksandra’s successes in identifying and securing successful
commercial partnerships — with Cameron Balloons for Plane
Landing,112 as with Hasselblad for TFWOTM.113 Does art not
thrive on philanthropy? Power? The state apparatus?114
Advertising? Is this the elephant in the room? That we can’t see
what Art is?115 But this is one of the ways with art, isn’t it?
Representations and structures as contemplations?116
Experiences shared among people? Questions? To extend the
gaze?117 To see beyond polarities? Propaganda? The Nomos?
One invests time. Time itself marks other flows. (Some pictures
here).
111 “The project budget, $2,000, is spent the first day on a half-page ad in Artforum:‘To announce the news of this
historic event to the world’.” First Woman on the Moon, op cit.
112 Plane Landing. Op cit.
113Hasselblad supplied the original cameras used on the moon landings. The First Woman on the Moon, op cit.
114 Louis Althuser, ‘Idealogy and Idealogical State Apparatuses: Notes Towards an Investigation’, Lenin and
Philosophy, trans. Ben Brewster, London: New Left Books, 1971, extract pp120-140.
115 Jacques Ranciere, trans. G. Rockhill, The Politics of Aesthetics: the Distribution of the Sensible. London:
Continuum, 2004, pp12-34 .
116The Council of Trent, The Twenty-Fifth Session, Ed. and trans. J. Waterworth (London: Dolman, 1848), 232-89.
<Available from http://history.hanover.edu/texts/trent/ct25.html>[Accessed 18/11/7]
117 Michel Foucault, Discipline and Punish, New York: Vintage, 1995, pp207-208.
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25. Peggy Guggenheim & Henry Tate invite you
♨
If TFWOTM is now represented in the Guggenheim and Tate
Museum collections, as it is,118 does this accession translate ∴’s
work on the Wijk aan Zee beach from M.I.M.E.119 to art —
because the museum is the domicile of art?120 Or the discourse
of the page? Is this not to remove the object? Haven’t ideas
shifted? From one thing, performance, to another, exhibit? No?
Doesn’t theatre advertise in advance of performance? Ahead of
completion? A promise of a play? Isn’t theatre about character?
And the actors? Is accession validation? Absorption?
Appropriation? Completion? By whom? The Institution? The
event? The artist? The audience?121 When?
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26. Call Collect.
122 “Self publishing is an excellent complement to an ephemeral practice. The more I document and make information
about my work freely available, the more independent I am and the more risks I can take in my actual projects.”
Aleksandra Mir, Interview with curator Mirjam Varadinis <Available from http://www.vernissage-
tv.com/06/mag/VTV_magazine_092206.pdf>[Accessed 28/8/8].
123 André Malraux, Museum Without Walls, New York: Doubleday, 1967.
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27. ☏
Is ∴’s Architecture — her film project of Coney Island
sandcastles being washed into the sea by the tide124 — is that not
also an extension of The First Woman on the Moon ? A kind of
collecting? Tides are made by the Moon, aren’t they? And again
there is doubling. From where do we look? From the fictional
Suarez Miranda’s story of the tattered map?125 What is the
philosophy running through this? Aleksandra shifts her media,
develops her themes, approaches, becomings, doublings. ∴
effects the incident of her art within broader chronotopal126
situations. ∴’s approach is holocratic127; subjectively plural128,129?
Isn’t ∴ also concerned with mapping? How far does mapping
go?130 To see the whole one must also see oneself, ergo
schizoanalysis. And to see the world? From the Moon? As a form
of the Carte du Tendre?131
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28. Le cirque
29. Spectres
132 The Concise Oxford Dictionary, Oxford: Oxford University Press, 1979
133 Aleksandra Mir in Sgualdini, op.cit.
134 See for example Carol Duncan, ‘The Modern Art Museum’, in Civilizing Rituals: Inside Public Art Museums,
London and New York: Routledge, 1995, pp115-28.
135 Sophocles, Antigone, trans. Humphrey Davy Findley Kitto,Oxford: Oxford University Press, 1994
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30. Organizado
At this time, Mir also shot and edited video depicting her attempts
to connect with the city around her through dance and body
language. Mir does not speak Spanish.136 So is that mime?
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(30) Yo No Hablo Español, Letterpress Businnesscard, 2004
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(32) Yo No hablo Español, window display, Mexico City, 2004.
(33) Yo No hablo Español, welded metal sign and flower pots installation, Mexico City, 2004
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(34) Installation view, Mouvement Organisé, 2006.
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(36) Collaged poster from Mouvement Organisé, 2006.
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31. Mouvement Organisé
A skeleton sat at a desk. There were pages in Spanish on the walls. As with
TFWOTM in Rekjavik (video and installation, 2000)141 and in London (the
TFWOTM video with a model replica Stonehenge, 2003),142 in New York with
New Designs (2005); indeed any of her gallery shows, Mir occupies her
gallery. Her work fills the spaces afforded. Death. Time. What does Che
Guevara have to do with (the obsolent) Concorde? Stonehenge?
In 2003, Mir conducted her own interview with the original designer of the
iconic Guevara poster, Jim Fitzpatrick — now living in Ireland.143 Mir’s
interview was after carried on the flip side of her poster for Communism, a
group exhibition in Dublin in 2005. For the face, Mir collaged Fitzpatrick’s
Guevara with Concorde. Repurposing? Re-Appropriation? Development?
Shifting? The collaging of the human, Che, with technology, Concorde? And
the gallery as a quasi-documentative environment? Incomplete? Finished?
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(37) Reincarnations '05, shot glasses, 2005
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(39) Reincarnations '05, installation view, 2005
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(41) Reincarnations '05, Invitation card / designs for shot glasses.
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32. New Designs.
144 Op cit.
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33. Hello
ﬖ
So, to move on, our global overview. ∴’s HELLO is several
collections of hundreds of photographs playing six degrees of
separation to its partner — from Edinburgh Fruitmarket Gallery, 2000
to Sydney Museum of Contemporary Art, 2002145. Aleksandra
published several — one a corporate report, Hello Ringier, 2003.146
Let’s note these shifts — place and people. HELLO can be realised just
as any Fluxus instruction. Mir allows her work to occupy folds of
possibilities. Only those realised by Aleksandra are hers? But let’s note
the lifespan of the project as realised. Let’s also note Aleksandra’s
physical presence in these places — she works with galleries and
networks to assemble her collections. Is this what you have to do to
work as an artist today? Go to all these places?147 From Edinburgh to
Sydney? It’s like a game. You match one person in one photograph
with another person in another. Aleksandra collects the pictures, she
does not take them. Aleksandra is not a photographer. The pictures are
of people. (And, in the photographs, the people are all in different
places).
145 Hello, 2000-2002. Mir lists versions for Sydney, Paris, Bern, San Francisco, New York, Trapholt, London, and
Edinburgh. The 2004, Hello - from Gertrude Vanderbilt Whitney to Whitney Houston, Whitney Biennial, NYC was
cancelled. <Available from http://www.aleksandramir.info/projects/hello/hello.html>[Accessed 27/8/8].
146 Hello Ringier, 2003. <Available from http://www.aleksandramir.info/projects/hello/hello_ringier.html>[Accessed
27/8/8]
147 See Carol Duncan, op. cit.,
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34. Bremen: You
BREMEN, 2005.
148 Ed. Frauke Ellbell, A Lucky Strike, Art Takes Place, GAK, Gabriele Mackert, Bremen, 2006.<Available from
http://www.aleksandramir.info/pdfs/pdfs/GAK_Lucky_Strike.pdf>[Accessed 28/8/8].
149 ‘The Dadaist exploits the psychological possibilities inherent in his faculty for flinging out his own personality as
one flings a lassoo or lets a cloak flutter in the wind.” Richard Huelsenbeck, En Avant Dada (1920). In Charles
Harrison and Paul Wood, Art in Theory: 1900-2000. London: Blackwell, 2003. p261.
150 Mir, Aleksandra, Finding Photographs. Ikast: Socle du Monde <Available from
http://www.aleksandramir.info/zips/pdfs/Catalogue.pdf>[Accessed 27/8/8].
151 “…made up of 101 books with skies and airplanes on them, on any subject and arranged in gradation from dark
blue to turquoise and purple.” Aleksandra Mir, Welcome Back to Earth, 2003. <Available from
http://www.aleksandramir.info/projects/welcomeback/welcomeback.html>[Accessed 18/8/8].
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36. WELCOME
We’ll backtrack now again, to 1996 and Mir’s WELCOME. This took
the shape of two events within Copenhagen’s programme for 1996
European City of Culture. One, in Radhusplatse, central Copenhagen
was a cordoned labyrinthine path with guard dogs and handlers present
securing a shin-high ribbon of path to first night attenders of an
exhibition, Update96 — i.e., it was a queuing system to get in152. The
other, the second, WELCOME took place in within the same season at
Stereobar, a busy club in downtown Copenhagen, again one night
only. Here, the bar dispensed drinks according to printed tokens from a
machine — i.e. another queuing system.153 Access?154 These, in turn,
let’s say genetically, inherit from her work, Life is Sweet in Sweden,
where local girls in central Gothenburg could sport uniforms from
Mir’s free ‘guest bureau’ —Gothenburg then hosting the World
Athletic Games. Conversely can these also be ancestors to the
performance event, Tune In, Turn On, Drop By, a reading of Timothy
Leary texts with sitar accompaniment and a stripshow afterwards at
Gavin Brown Enterprises in 1998. Why is nudity involved in so much
Art? Is this all about relationships between galleries and art and the
outside world?
152 Welcome, 1996. <Available from http://www.aleksandramir.info/projects/welcome/welcome.html>[Accessed
24/8/8].
153 Welcome (Stereobar), 1996. <Available from
http://www.aleksandramir.info/projects/sterobar/sterobar.html>[Accessed 24/8/8].
154 A public access proposal by Mir to embelish the Lutheran Cathedral on Senate Square with wheelchair access,
1995; workshop with Helsinki Arts Academy; Access, 2001. <Available from
http://www.aleksandramir.info/projects/access/access.html>[Accessed 28/8/8].
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37. NO SMOKING
▦▨◎ ↂ �
155 JC Freiderich Von Schiller, Letters Upon The Aesthetic Education of Man, 1794.(Project Gutenberg). <Available
from http://worldlibrary.net/eBooks/WorldeBookLibrary.com/lettschi.htm#1_3_3> [Accessed: 13 April 2008]
156 No Smoking. 2004
157 Pick Up (Oh baby), 1996. <Available from http://www.aleksandramir.info/projects/pickup/pickup.html>[Accessed
27/8/8].
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38. Oriel (Mostyn)
Dada
oriel
What a web ∴ weaves. ∴ uses the everyday. Yet she allows the
perspectives of the gallery, this oriel, to include her own actions,
and the actions of others. ∴ has reflexive relations. Her metaphors
surround us. Like an umbrella? Do Mir’s postcards and
publications not themselves queue for dissemination? Is this what
we are doing? So, in its linking “and also…, and also…” structure
is HELLO not similar to Aleksandra’s Aviation Archive— her
collections of books all loosely to do with the idea of aviation as
taken from the cover? Like HELLO? Is this not part of what Mir is
doing? Establishing links at their points of absurdity?
Phenomenological readings from the body? A random other body?
Subjectivity? Politics? Feminism?
158 The Concise Oxford Dictionary, Oxford: Oxford University Press, 1979
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39. Fashion Hats, 1997
159 Fashion Hats, 1997 <Available from http://www.aleksandramir.info/projects/fashionhats/hats.html>[Accessed
31/8/8].
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(42) Fashion Hats, duplicated shop window, 1997.
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(43) Beijing, The World from Above, 2004
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40. The World from Above
Backwards and forwards, but here we are — after Hello, after the
Daily News. In 2003, ∴ began to work with cartographies160—
selecting locations to map by hand from either recent trips, movie
references or graphic interest.161 Are maps not like hats?162 Or
umbrellas? Let’s note: 1) the initial drawings slightly larger than
1.22x1.22m², are partly copied from “mass-produced maps”163 and
2) that this work also marks Aleksandra’s development from more
social orientations and ephemeral works of the 90s. And 3)
similarly, the works open to different personal histories, knowledge
and experiences. They are subjectively plural — “never finished
and appear different to everyone.”164 All the same, these first maps
hung on the walls for ∴’s first solo show at Greengrassi, London,
2004, The World from Above, — centred, edge to edge. On central
floor plinths sat blown eggs decorated with (Sharpie) pen designs
— a la DIY Fabergé eggs. Mir’s aesthetics have as we have said, a
DIY aesthetic. What is DIY? Does not everything above the ground
come from what is beneath the ground? Does art not contain an
inside? Is the Earth not like an egg? And a blown egg …? Is that
not an egg whose contents have been removed? Like a photograph?
Does an umbrella not resemble a hemisphere? Half an eggshell?
Through which a plane might fly? A night sky? We are tracing
paths. Do people not live on maps? In Tokyo?
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(45) You are My Roadtrip, Church of Sharpie, 2005
63/121
(46) Production shot, Church of Sharpie, 2005
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41. Some Really BIG maps
Of course, The First Woman on the Moon has aerial views of the Earth.
∴ explores cartographies. There is logic. This logic, this loose
conceptual bundling, Mir’s simultaneous ideas, all provide
cohesiveness. It’s not all so simple, however. Things overlap, even in
mapping, turn on themselves; question themselves. Are reflexive. ∴, by
making Earth and Space her locale, creates a universal locale? Do we
not conceptualise places we have never visited? Drawing to sculptural
dimensions, — filling the plane of the gallery wall, top to bottom, —
Mir followed The World from Above with some “really BIG maps” for a
couple of group shows — in Dresden and Berlin. Greengrassi retained
rights.165
In May 2005, Mir secured a temporary studio in New York and with 16
assistants produced 20 drawings, each 4.7m x 3m², each outlining the
USA’s borders. Aleksandra would sketch out the day’s work in the
evenings. During the day, her (16) assistants would fill in her sketched
out legends and designs. Among the collaborators, this temporary
workshop thus became known as The Church of Sharpie. (A Sharpie is
a brand of permanent ink marker).166 The results would be shown
together in London in October as WELCOME Sometimes.167 This
material, her 20 US maps and legends were Aleksandra’s second
Greengrassi Show.168
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42. Drawings
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(47) Newsroom (1986-2000), installation view, 2007
67/121
(48) Newsroom (1986-2000), installation view, 2007
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(49) Newsroom (1986-2000), installation view, 2007
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43. Newsroom (1986-2000): NEWS + ROOM
175 “Thus, those making multiple visits to the show would have found a near-constantly changing suite of large
Sharpie-drawn reproductions with repeating protagonists (celebrities, anonymous urban Everymen), sympathetic
groupings of content (riffs on food poisoning, murderous parents, miracles, art theft), or typographical quirks (most
frequently ampersands, hyperbolic numbers, exclamation points, and dollar signs).”Suzanne Hudson, Aleksandra
Mir. Mary Boone Gallery/ Printed Matter, Artforum, December 2007. <Available from
http://www.aleksandramir.info/texts/hudson.html>[Accessed 18/8/8].
176 “Whether one buys them or not, a glance at the headlines while passing by a deli or waiting for a bus is enough to
be connected to the diverse masses that make up their readership. Never mind if what is reported is mostly disaster
or scandal.”Aleksandra Mir, Press Statement for Newsroom, July 2007. <Available from
http://www.aleksandramir.info/projects/news/news.html>[Accessed 18/8/8].
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(50) The End Isn’t Near, from programme, Cinema for the Unemployed, 1998
71/121
44. THE END ISN’T NEAR
▁▂▃▄✈✇
177 Ruth Horowitz Gallery, New York City, May 2002 curated by Neville Wakefield. Wakefield has involved Mir in his
projects over many years — most recently including her Declaration for Space in God is Design in Sao Paolo.
178 Ibid.
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46. Cash
179 “A plateau is always in the middle, not at the beginning or the end. A rhizome is made of plateaus. Gregory
Bateson uses the word “plateau” to designate something very special: a contuous, self-vibrating region of
intensities whose development avoids any orientation toward a culmination point or external end.” Giles Deleuze
and Felix Guattari, A Thousand Plateaus, op. cit., p24
180 See JC Freiderich Von Schiller, , Letters Upon The Aesthetic Education of Man, 1794. Op. cit.
181 “If the bourgeoisie no longer need art as an ideological instrument, by the same token the artist was no longer
required to represent its interests — and in the default of other class interests could take as the subject of art its own
internal processes.” Foster, Hal, Recodings. Seattle: Bay Press, 1996; p163.
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47. Nicholas Serota
182 Nicholas Serota, Expedience or Interpretation. London: Thames and Hudson, 1996.
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(52) Gravity, 2005
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48. FLIGHT
✈
⏏
Obviously, ∴ did not go to the Moon. The Moon was Utrecht.
Antarctica? Is Antarctica not a kind of Moon? Is the territory
being shown? Like a large drawing? And the space rocket
never left the ground. ∴’s questions are all concerned with
performance because her questions are about living. Life takes
place. And then? Can we see that Mir’s oeuvre is conceptual?
So, Mir is a performance artist, however we look at it?184 Are
all modern artists not now Dada? Is language a virus? Is art
travel? Or travel without moving? Transient trajectories?
183 The parts of this spacerocket are all now recycled. Gravity, 2006, Op.cit.
184 Jeremy Cooper gives an account of the scene around Factual Nonsense with many of the YBAs contributing
performance and live events to Joshua Compston’s Fete Worse Than Death. Jeremy Cooper, no FuN without U.
London: Ellipsis, 2000, pp75-85, and 123-134. Let’s note that the relations of practice and artefact are problematic,
an invisible theatre that even beyond culutral hemispheres involves notions of performance.
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49. Questions
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(53) Antartica, 2005
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50. Universal Schizophrenia
187 “1. The moon shall be used by all States Parties exclusively for peaceful purposes.
2. Any threat or use of force or any other hostile act or threat of hostile act on the moon is prohibited. It is likewise
prohibited to use the moon in order to commit any such act or to engage in any such threat in relation to the earth,
the moon, spacecraft, the personnel of spacecraft or man- made space objects.
3. States Parties shall not place in orbit around or other trajectory to or around the moon objects carrying nuclear
weapons or any other kinds of weapons of mass destruction or place or use such weapons on or in the moon.
4. The establishment of military bases, installations and fortifications, the testing of any type of weapons and the
conduct of military man uvres on the moon shall be forbidden. The use of military personnel for scientific research
or for any other peaceful purposes shall not be prohibited. The use of any equipment or facility necessary for
peaceful exploration and use of the moon shall also not be prohibited.” RESOLUTION ADOPTED BY THE
GENERAL ASSEMBLY 34/68. Agreement Governing the Activities of States on the Moon and Other Celestial
Bodies. <Available from http://www.unoosa.org/oosa/en/SpaceLaw/gares/html/gares_34_0068.html>[Accessed
28/8/8].
188 Richard A. Lovett, Russia Plants Underwater Flag, Claims Arctic Seafloor, National Geographic News, August 3,
2007. <Available from http://news.nationalgeographic.com/news/2007/08/070802-russia-pole.html>[Accessed
28/8/8].
189 See Antarctic Treary, 1959. <Available fromhttp://www.scar.org/treaty/at_text.html >[Accessed 28/8/08]
190 See Jacques Derrida, Given Time: I. Counterfeit Money. Chicago: Unviersity of Chicago Press, pp1-33.
191 “Must this multiplicity of female desire and female language be understood as shard, scattered remnants of a
violated sexuality.” Luce Irigaray, op. cit. P30.
192 Laura Mulvey identifies at the beginning of the entry of commercial and soft-core pornography, a male gaze. Laura
Mulvey, Visual Pleasure and Narrative Cinema, Screen 16.3, Autumn 1975. <Available from
https://wiki.brown.edu/confluence/display/MarkTribe/Visual+Pleasure+and+Narrative+Cinema>[Accessed 1 May
2008].
193 Smileys, 2005. <Available from
http://www.aleksandramir.info/projects/antarctica/antarctica_home.html>[Accessed 18/8/8].
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51. The internet
∵
Gravity
A pink tank is a tank painted pink, isn’t it194? Rose Selavie?
(This is life: it is pink). How else could it be?
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(54) Plane Landing (Zurich), 2008
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52. Appearance and Disappearance.
195 Shifting Identities - (Swiss) Art Now). Plane Landing, 2008. <Available from
http://www.aleksandramir.info/projects/planeswitzerland/plane.html>[Accessed 18/8/8]
196 Plane Landing, 2003. Op. cit.
197 Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser. Ann Arbor: Univeristy of Michigan Press,
2003.
198 Robert Rauschenberg. Quoted in Jon Bardin, Neuroesthetics and Conceptual Art. <Available from
http://thethirdculture.wordpress.com/2007/06/25/neuroesthetics-and-conceptual-art/>[Accessed 28/8/8]
199 Op cit. Mir expresses this concept herself, in a conversation with Claire Doherty in Bristol.
CD: With a project such as this, are you able to articulate where for you the work resides? Are there aspects of the
project that are purely production or is every aspect of the process another facet of the work?
AM: I get this question more and more often which may be indicative of how all aspects of my practice are naturally
blending into one seamless flow. 'Plane Landing' is an object, which functions both as a sculpture and as a prop for
a performance, situated in a ready-made landscape. I allow the audience as much insight into the process of
preparations, the inflation and deflation as is practical and safe. I photograph all stages of the production and this
material is made public, both as documentation and promotion of the event. Recently, documentary material of my
past ephemeral works have also started to enter museum collections, as art history. Aleksandra Mir in conversation
with Claire Doherty, 2003; op. cit.
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⇑↵ ∀
∧
53. ♔Matrixiality
Ⅎℵ ⅋
╓╥╖
╟╫╢
╙╨╜
200 Bracha Lichtenberg Ettinger, The Matrixial Gaze. Leeds: Feminist Arts and Histories Network, 1995.
201 The Concise Oxford Dictionary, Oxford: Oxford University Press, 1979
202 Plane Landing, 2003. op. cit.
203 See for example BBC News | Americas | Flight 990: What happened and when?<Available from
http://news.bbc.co.uk/1/hi/world/americas/515921.stm>[Accessed 18/8/8].
204 Flight 990, 1998. <Available from http://www.aleksandramir.info/projects/flight800/800.html>[Accessed 23/8/8].
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54. Feminism
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(55) Flight 990, built, smashed and rebuilt scale model, 20 x 16", 1999.
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55. Envelopes
℻ⅯⅯvⅼⅼⅼ⌂
℠ ℡™
213 This is a fold. Giles Deleuze, The Fold. New York: Continuum, 2001
214 Switzerland and Other Islands, 2006. Op cit.
215 See Semir Zeki, Statement on Neuroesthetics. <Available from http://neuroesthetics.org/statement-on-
neuroesthetics.php>[Accessed 28/8/8].
216 In 1996, Giacomo Rizzolatti and a team of researchers observed reciprocal signalling in the brain to visual and
aural signals. Rizzolatti suggests this is located in the body, or at least, corporal recognition. See for example
Sandra Blakesee, Cells That Read Minds, New York Times, January 10, 2006. <Available from
http://www.nytimes.com/2006/01/10/science/10mirr.html>[Accessed 28/8/8]
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56. forked speech
╋╂╁╫
simultaneous description
Do not talk about Dada. Dig over entrails, speculate on the
future from carcasses. Yes, I will describe it to you. Of course
there is more to say. This is Dada. [This is life: it is pink].
⌥⎈⎋⏏
217 “The structure then of works of art will have to be different from the structure of objects which merely resemble
them.” Arthur C Danto, Art Philosophy and the Philosophy of Art. Humanities, Vol. 4, No. 1 (February 1983), pp.
1-2. <Available from http://www.csulb.edu/~jvancamp/361_r1.html>[Accessed 20/8/8].
218 Roland Barthes, The Death of the Author. Aspen 5+6. Edited and designed by Brian O'Doherty, Fall-Winter 1967.
<Available from http://www.ubu.com/aspen/aspen5and6/index.html>[Accessed 4/4/8].
219Michel Foucault. "What Is an Author?" Twentieth-Century Literary Theory. Ed. Vassilis Lambropoulos and David
Neal Miller. Albany: State University Press of New York, 1987. 124-42.
220 Oedipus does not remember names, recognise faces. He arrives and weds the grieving queen, his mother. Oedipus
rends himself blind. His actions and symptoms are schizotypal.
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57. Miss America
221 “It seems to me that optimism is built into the human constitution so that we can move on, regardless of any crisis
or dilemma. I am just following that instinct.” Aleksandra Mir. Quoted in Silvia Sgualdini, op. cit.
222 Democracy, 2000. <Available from http://www.aleksandramir.info/projects/rock/rca.html>[Accessed 18/8/8].
223 “It is useless, then, to trap women in the exact definition of what they mean, to make them repeat (themselves) so
that it will be clear, they are already eslewhere in hat discursive machinery where you expected to surprise them.”
Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter,. New York: Cornell University, 1985, p29.
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(56) Democracy! installation view, RCA, 2000.
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(57) Miss America, invitation card, 2006.
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58. $ sign?
224 Helene Cixous, The Laugh of the Medusa. In The Norton Anthology of Theory and Criticism. Ed. Vincent B.
Leitch. New York: Norton, 2001. 2039-2056
225 Ibid.
226 Op cit.
227 Op cit.
228 “This appropriative operation is efficacious, to be sure, but it nonetheless compensates for a lack — the lack of a
coherent social base for cultural production.” Hal Foster, Recodings, Seattle, Washington: Bay Press, 1985, p162
229 “There is at least a risk that their will be no more human history unless humanity undertakes a radical
reconsideration of itself. We must ward of by every means possible, the entropic rise of a dominant subjectivity.”
Felix Guattari, The Three Ecologies. London and New Brunswick, NJ: Athlone Press, p68
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59. Cybernetics
230 Martin Heidegger, Being and Time, trans. by Joan Stambaugh (Albany: State University of New York Press, 1996).
231 The Body without Organs does or does not effect change and growth. Giles Deleuze and Felix Guattari, A
Thousand Plateaus. Op. cit., pp165-184.
232 cf. Serres in 190 above.
233 In Steven Connor’s, Michel Serres’s Milieux, — extended version of a paper given at the ABRALIC (Brazilian
Association for Comparative Literature) conference on ‘Mediations’, Belo Horizonte, July 23-26 2002. <Available
from http://www.bbk.ac.uk/english/skc/>[Accessed 10 July 2008].
234 Felix Guattari, Chaosmosis. Op. cit.pp98-118
235 Giorgio Agamben, State of Exception, translated by Kevin Attell. Chicago and London: University of Chicago
Press, 2005, p84.
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60. You can lock nature out but you can’t stop it getting in.
♖♘♗♕
This thesis is also an attempt at reflexivity.
Person ➠ Situation?
Dada did not start with Dada. Dada was a «socius». Dada
went bust.236 (Blind Tiresius). In Zurich. (Lenin). In 1918.237
E = ƒ(S, N)
Any received signal is effected as a function of signal and noise238.
We need to skip a little, just to stay ahead.
236 Roselee Goldberg, Performance Art, London: Thames & Hudson, 1990, pp50-74.
237 Ibid.
238 SHANNON, C.E., A Mathematical Theory of Communication, (1948); p19
239 Ibid. p22
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62. Le Regard
240 “The goal of socialism is abundance — the greatest number of goods for the greatest number of people, which
statistically implies reducing the unexpected to the level of the improbable. Increasing the number of goods reduces
the value of each. This devaluation of all human goods to a level of ‘total neutrality’ will be the inevitable
consequence of a purely scientific development of socialism. It is unfortunate that many intellectuals fail to get
beyond this idea of mechanical reproduction, and are instead contributing toward the adaptation of humanity to this
bland and symmetrified future. Artists, whose specialty is seeking uniqueness, are consequently turning in
increasing numbers against socialism. Conversely, socialist politicians are suspicious of every expression of artistic
power or originality.” Jorn, Asger, The Situationists and Automation, 1958. (My emphasis). “Les situationnistes et
l’automation” in Internationale Situationniste #1 (Paris, June 1958), trans. Ken Knabb in Situationist International
Anthology (2006). <Available from
http://www2.cddc.vt.edu/mirrors/www.bopsecrets.org/SI/1.automation.htm>[Accessed 24/8/8].
241 Lacan, J “The Mirror-Phase as Formative of the Function of the I”.In Harrison C. and Wood, Art in Theory:
1900-2000, op. cit. pp620-624
242 See for example, Michel Foucault, Truth and Judicial Forms. In Michel Foucault, Power, Essential Works of
Foucault 1954-1984, vol 3, ed. James Faubion, London: Penguin, 2000, pp58-64
243 Rosalind Krauss: "Grids" October 9, Summer 1979. [Reprinted in: The Originality of the Avant-Garde and Other
Modernist Myths. Cambridge, MA: The MIT Press, 1985, pp. 9-22.
244 Foucault’s gaze.
245 “THE SPECTACLE, BEING the reigning social organization of a paralyzed history, of an abandonment of any
history founded in historical time, is in effect a false consciousness of time.” Guy Debord, The Society of the
Spectacle. New York: Zone Books, 1994, p114.
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63. Formulae
64. Folds.
Let’s pick up some of these folds247 and bring what we can back
to our view. Isn’t this something also: the pace of language in its
discourse of deduction?248 Mir’s art is not a “surface with
markings”.249 It plays with its own traces, and limits: as a thing of
language and as language, it is also ephemeral.
246 The philosophers were known as wizards in Greece. Philostratus, Life of Apollonius of Tyana 8. 19 (trans.
Conybeare). <Available from http://www.theoi.com/Khthonios/Trophonios.html>[Accessed 7/7/8].
247 Les plis.i
248 In What is Philosophy? Deleuze and Guattari contrast Art and Science as being of a difference of Discursivity and
Deduction. Giles Deleuze and Felix Guattari, What Is Philosophy?, London and New York: Verso, p127
249 Van Den Berg, Dirk J (2004) ‘What is an image and what is image power?’. Available from
<http://www.imageandnarrative.be/issue08/dirkvandenbergh.htm> [Accessed 7 January 2008].
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65. The gods made Tiresius, a woman for ten years.
A ⇒ B?
If everything is from one source, that source must be in
everything, must it not? Is this also not cybernetics?What is
being produced? Feedback?
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66. Entwined
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(58)(59)(60) Sicilian Pavilion, 2007
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67. Martinique
68. Materials
With Mir, the Luxury and the Everyday do not exchange values.
Let’s say they are opened, suspended; rendered ambiguous. We did
not define Luxury and the Everyday. With felt tip pen scribbles,
ordinary blown eggs imitate Fabergé’s. A helium balloon imitates an
airliner. The daily newspaper copied, becomes an art object. Airliners
become sketches. But these eggs, the newspapers and airplanes do
they not all also contain lives? Like The Big Umbrella?
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69. 48 Hour Underground
70. Discussion
100/121
71. Mir’s 48 Hour Underground:
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(61) 3 Graces, (design for souvenirs), marker and photoshop on paper, 8x10", 2007
102/121
(62) Icebergs, melting ice, 2004
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(64) Smash Patriarchy, 2005
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(65) Aviation Archive, installation detail from Welcome Back to Earth, solo exhibition, Kunsthalle St.
Gallen, May 2003.
(66) Installation view from Welcome Back to Earth, solo exhibition, Kunsthalle St. Gallen, May 2003.
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(67) Installation view from Welcome Back to Earth, solo exhibition, Kunsthalle St. Gallen, May 2003.
(68) Fabergé Eggs, detail from the World from Above, solo show at Greengrassi, London, January 2004
106/121
(69) You Can’t Hurry Love, contribution to Sandwiched, a project organized by Jacob Fabricius in
cooperation with the Wrong Gallery and the Public Art Fund in New York, 2003
107/121
(70) No Smoking, Whitney Biennial, 2004
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(71) Naming Tokyo II, Swiss Institute, New York, November, 2003
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(72) Detail fromStonehenge II, a re-proposal to Artangel in the form of a 3D scale model, London, ICA, 2003
(73) Detail fromStonehenge II, a re-proposal to Artangel in the form of a 3D scale model, London, ICA, 2003
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(74) Hell in Paradise, Martinique, 2004
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(75) The Big Umbrella (Martinique), 2004
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(76) Access, proposal for wheelchair ramp, Helsinki, 2001.
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(77) Garden of Rockets (1-4), mixed media, 2005.
(78) Sarah Gavlak and Aleksandra Mir visiting the Garden of Rockets,
John F. Kennedy Space Center, Kennedy Space Center, Florida, 2004.
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(79) M.I.M.E., 1999-2003.
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ABSTRACT
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Primarily focussing on the sequences and relations involved in
Mir’s work, the text is not directly linear. In highlighting Mir’s
behaviours — Mir’s approach is both strategy and conviction.
Rather than conduct discourses on theory, in Mir’s work where
ambiguities and doublings abound, the text attempts an
essentialist reading, and itself, the creation of originary writing,
Cixous’ écriture feminine. Such an undertaking also approaches
Deleuze and Guattari’s notions of assemblage and phylum. The
methodology used is thus of originary writing and of Dada.
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ILLUSTRATIONS
(3) Collage from Aim at the Stars, gold leaf frame, 2008. •p9
(4) Collage from Aim at the Stars, gold leaf frame, 2008. •p10
(5) Collage from Aim at the Stars, gold leaf frame, dimensions variable, 2008. •p11
(19) Asteoridus Svizzerus, marker on paper, 360 x 400 cm, 2006. •p20
(20) Treasure Island, marker on paper, 150 x 180 cm, 2006. •p21
(22) Life is Sweet in Sweden, hostesses by the Ullevi sports arena, 1995. •p25
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(24) Homeboys, snowmen, 2001. •p26
(28) The First Woman on the Moon, performance vew, 1999. • p34
(29) The First Woman on the Moon, installation view, 1999. • p34
(31) Yo No hablo Español, cast bronze sign, Mexico City, 2004. • p45
(33) Yo No hablo Español, sign and flower pots installation, Mexico City, 2004 • p46
(41) Reincarnations '05, Invitation card / designs for shot glasses. •p52
(45) You are My Roadtrip, Church of Sharpie, marker on paper, 190x120, 2005. •p63
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(47) Newsroom (1986-2000), installation view, 2007. p67
(50) The End Isn’t Near, from programme, Cinema for the Unemployed, 1998 • p71
(51) Anthrax Nation, 2002. Limited edition of 10; photocopied newspaper. • p71
(55) Flight 990, built, smashed and rebuilt scale model, 20 x 16", 1999. • p85
(56) Democracy! installation view, RCA, 2000. •p89
(61) 3 Graces, (design for souvenirs), marker and photoshop on paper, 8x10", 2007 • p102
(65) Aviation Archive, installation detail from Welcome Back to Earth, solo exhibition,
Kunsthalle St. Gallen, May 2003. •p105
(66) Installation view from Welcome Back to Earth, solo exhibition, Kunsthalle St. Gallen, May
2003. •p105
(67) Installation view from Welcome Back to Earth, solo exhibition, Kunsthalle St. •p106
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(68) Fabergé Eggs, detail from the World from Above, solo show at Greengrassi, London,
January 2004. •p106
(69) You Can’t Hurry Love, contribution to Sandwiched, a project organized by Jacob Fabricius
in cooperation with the Wrong Gallery and the Public Art Fund in New York, 2003. •p107
(71) Naming Tokyo II, Swiss Institute, New York, November, 2003. •p109
(72) Detail fromStonehenge II, a re-proposal to Artangel in the form of a 3D scale model,
London, ICA, 2003. •p110
(73) Detail fromStonehenge II, a re-proposal to Artangel in the form of a 3D scale model,
London, ICA, 2003. •p110
(78) Sarah Gavlak and Aleksandra Mir visiting the Garden of Rockets, John F. Kennedy Space
Center, Kennedy Space Center, Florida, 2004. •p114
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