Belonging

Belonging...

... is a pleonasm. (ontology has no escape)
Re-belong, de-belong, pluri-belong, proto-belong. ... to the soil you are made of
and the big blue skies above.
Mutability is what makes it stable.
Belonging is an illustration for empathy made weapon,
a search for like-minded people,
unintentional,
cathartic in its constant re-birthing.

… is a fellow perfume connoisseur.

… is a loophole for archival bandits.

… is vulnerability in the shape of
acceptance
unintentional affiliations
m a g i c

… to UNBUILT ROADS
some of your claimed territories
bare your file-sharpened teeth
stick a flag between your ribs
a friendly warning: belonging is a trap.
But it is not begging.

… is “being so open it hurts” [RR] but not editing; is the certainty of ever-shredding onions; is feminist rites of passage; is depression activism; is a capricorn moon/mood.

… to yourself against your better judgement and
the precarity of your own biography. A refuge in the margins of performance.

Belonging is always becoming. – AC.



Image of Studio object

  • Catalog No.
  • 00037-1993/1995-C-SignatureCollage-016
  • Title
  • Signature Collage
  • Dimensions
  • 21 x 29.5
  • Materials
  • Photocopy and oil crayon
  • Object Location
  • Physical

  • Technical Notes

Map of the studios at de Ateliers when SMW a resident there.


  • Reflection Notes

“I wanted to escape and exist independently (from De Ateliers).” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 00016-2011-TwRp-PleaseStupid
  • Title
  • Please Stupid
  • Dimensions
  • 150 x 62
  • Materials
  • Acrylic on paper
  • Object Location
  • Physical

  • Reflection Notes

GSA meeting – 08.02.21. “[...] names that didn’t make it into telling stories.” – MH.

Close


Image of Studio object

  • Catalog No.
  • 00206-c2000-PsW2000-SURVIVINGINSPITEOFMYSELF
  • Title
  • SURVIVING IN SPITE OF MYSELF
  • Dimensions
  • 42 x 59
  • Materials
  • Pen, marker and poster marker on paper
  • Object Location
  • Physical

  • Reflection Notes

“I can’t bring to throw it away. I just don’t know where it will end.” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 02282-c2015-TwA4-WhenIAmAlone
  • Title
  • When I am alone
  • Dimensions
  • 29.5 x 21
  • Materials
  • Acrylic paint on pages of Gai Pied magazine
  • Object Location
  • Physical

  • Technical Notes

The pages are yellowed and cracked with age. Dutch Curator Erik Hagoort gave SMW a few huge boxes of these French gay liberation magazines from the 80s, and SMW intuitively started painting on them. There are many more than those listed in the archive.


  • Reflection Notes

“I had to throw away a lot of these, there were also Dutch gay liberation magazines in the boxes Erik Hagoort gave me, called ‘De Verkeerde Krant’ or so, (‘van de verkeerde kant’ was a Dutch saying for a queer person) but due to storage I could not keep everything as a resource to use. There are hundreds of these painted drawings, and they get quite a good response. Paul Thek = newspaper paintings, Karen Finley = same as Paul Thek, Erik Hagoort is the partner of Dutch artist Albert van Westing and AA Bronson showed a fondness for the drawings.” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 00314-c2001-PsW2000-WeAreNotAloneInTheWorld
  • Title
  • We Are Not Alone In The World
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

  • Reflection Notes

Inventorying session – 03.09.20. “Hierarchy is killing the world/work.” – SMW and AC.

Close


Image of Studio object

  • Catalog No.
  • 00624-2013-DoP-MonumentToDepression-01
  • Title
  • Monument to Depression (performance)
  • Dimensions
  • N/A
  • Materials
  • Living body and perfume bottles
  • Object Location
  • Digital

  • Technical Notes

Location: Formerly known as Witte de With, Rotterdam in the exhibit of AA Bronson ‘The Temptation of AA Bronson’ // performance, specifically, entitled ‘It’s Still Materialistic, Even If It’s Liquid (From Me To You)’. Duration of performance: 3 hours. https://player.vimeo.com


  • Reflection Notes

“Have you used your perfume collection for other works? i.e. ‘Acceptance Art’ and ‘It’s Still Materialistic, Even If It’s Liquid (From Me To You)’ with Lydia Schouten performances.” – AC. “I call all my work in all mediums ‘Acceptance Art’, so yes. And in performances perfume often figures heavily, or at least some. I try to sneak perfume into everything I do. Soon I will write an open letter for the Amsterdam poetry platform Perdu and we will hopefully include a perfume element in the letter. I did a performance in Switzerland/Bern in I think 2009 with 25 perfumes from my collection. I have included them as readymades in installations, and just shared whenever and however I can the wonder that is perfume. That performance, ‘It’s Still Materialistic, Even If It’s Liquid (From Me To You)’ with Lydia Schouten (a very significant and relevant Dutch artist who is a feminist art pioneer) was a three hour nude performance giving advice and consultations to visitors at an exhibit opening where the work was installed as a sculpture in Ikea vitrines. I totally loved that performance and got a lot of attention for it, even in the minds of people who weren’t there in person. It seemed to define something particular and create an atmosphere I would like to explore more. It was a sharing of joy and even love.” – SMW. “Do you have an inventory of your perfumes?” – AC. “Yes, please see above. This is pretty accurate, and fun, with pictures and reviews by other perfume enthusiasts. Fragrantica.com is my favourite perfume site, bar none, hands down. Serious and playful at the same time, endlessly fascinating. Here’s to many more perfumed adventures for us all!! You asked me what perfume has that relates to other elements of my work: I would say ‘romanticism’ and ‘spontaneity’ (spelling?) are both aspects of many things I do, and ways that I live and work, that perfumes embody as well. And I wanted to add: My story of how the collection began, which bottle was first, etc. is always different depending on when I am asked, by whom, and why. I remember buying ‘Charles Jourdan’ called the ‘sexiest perfume in the world’ and then ‘Le Male’ by Jean-Paul Gaultier. And I remember going into a perfumery and asking for ‘La Prairie’ eau de parfum, which I wrote about in my answers to you and I was told to try ‘Spellbound’ from Estée Lauder which I ended up buying and loving. But these were for use and not specifically for collecting like the ‘White Shoulders” bottle I mentioned being my first in the collection. Another early fascination was for ‘Jungle Gardenia’ which used to be Liz Taylor’s favourite perfume, and others (I think that was composed in the 1940s or 1950s). You can start with perfume and get to any other sector of society somehow. It is all interconnected and has even been referred to as ‘subversive’. Guides I like and trust are ‘Perfumes: The A-Z Guide’ from 2008 by Tania Sanchez and Luca Turin. And then ‘Perfumes: The Guide 2018’ again by Tania Sanchez and Luca Turin. And for vintage perfumes my favourite book is ‘Scent and Subversion: Decoding A Century Of Provocative Perfumes’ by Barbara Herman (I think this was released in 2013 or 2015 but I am not sure). I am specifically not looking up dates of publication etc. because I like to trust my memory now and not internet’s :)” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 02192-1995/1998-TwLd-MyLifeIsASearch(Orange)
  • Title
  • My life is a search (orange)
  • Dimensions
  • 29.5 x 21
  • Materials
  • Scented marker on A4 stationary
  • Object Location
  • Physical

  • Technical Notes

Like the horse drawings, the letterhead drawings are not always on letterhead, but share amongst them use of the handwritten text.


  • Reflection Notes

“I printed this stationary to use for my business, but never really used it for that. I used it to start making drawings on. My Mom had sent me fruit scented markers with animals printed on them, which I had used in my childhood. I used these to make the drawings, declarative statements to find my way.” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 01229-1995-PSP-IdentityShots-060
  • Title
  • Identity Shots: Before Robin, After Hannah Wilke
  • Dimensions
  • 20 x 30
  • Materials
  • Black and white photo print
  • Object Location
  • Physical

  • Technical Notes

Edition of 60 performalist self-portraits self-shot with a timer by the artist and archivally stored with floral silk textile.

Close


Image of Studio object

  • Catalog No.
  • 01462-2015-PsW2010s-IAmLikeTheseWomen
  • Title
  • I am like these women
  • Dimensions
  • 50 x 65
  • Materials
  • Acrylic paint and gouache on paper
  • Object Location
  • Physical

Close


Image of Studio object

  • Catalog No.
  • 02181-1995/1998-TwLd-MySexiness
  • Title
  • My Sexiness
  • Dimensions
  • 29.5 x 21
  • Materials
  • Scented marker on A4 stationary
  • Object Location
  • Physical

  • Technical Notes

Like the horse drawings, the letterhead drawings are not always on letterhead, but share amongst them use of the handwritten text.


  • Reflection Notes

“I printed this stationary to use for my business, but never really used it for that. I used it to start making drawings on. My Mom had sent me fruit scented markers with animals printed on them, which I had used in my childhood. I used these to make the drawings, declarative statements to find my way.” – SMW.

Close


Image of Studio object

Photographer: Robin Wassink-Murray

  • Catalog No.
  • 00545-2002-PP-TraceyAndSands-001
  • Title
  • Tracey and Sands
  • Dimensions
  • Variable
  • Materials
  • Variable
  • Object Location
  • Digital

  • Technical Notes

Location: Stedelijk Museum, Amsterdam (dinner after opening, Westergasfabriek, Amsterdam).


  • Reflection Notes

9 April 2020 (WeTransfer notes): “Here are also three images with Tracey Emin from I think 2002 (I have to check this but we could provisionally say from that year, might have been earlier like 2000… ? It’s 2002 here is the link: https://www.stedelijk.nl/nl/te... ). One image is with her dealer/gallerist Jay Jopling in the background censored :))” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 02270-c2015-TwA4-MyOwnLittleWorld
  • Title
  • My own little world
  • Dimensions
  • 29.5 x 21
  • Materials
  • Acrylic paint on pages of Gai Pied magazine
  • Object Location
  • Physical

  • Technical Notes

The pages are yellowed and cracked with age. Dutch Curator Erik Hagoort gave SMW a few huge boxes of these French gay liberation magazines from the 80s, and SMW intuitively started painting on them. There are many more than those listed in the archive.


  • Reflection Notes

“I had to throw away a lot of these, there were also Dutch gay liberation magazines in the boxes Erik Hagoort gave me, called ‘De Verkeerde Krant’ or so, (‘van de verkeerde kant’ was a Dutch saying for a queer person) but due to storage I could not keep everything as a resource to use. There are hundreds of these painted drawings, and they get quite a good response. Paul Thek = newspaper paintings, Karen Finley = same as Paul Thek, Erik Hagoort is the partner of Dutch artist Albert van Westing and AA Bronson showed a fondness for the drawings.” – SMW.

Close


Image of Studio object

Photographer: Tomek Dersu Aaron

  • Catalog No.
  • 02347-2021-DoE-WithoutYouImNothing09
  • Title
  • Without You I'm Nothing (Blue)
  • Dimensions
  • Variable
  • Materials
  • Digital word document file
  • Object Location
  • Digital

  • Technical Notes

Installation on occasion of the Rijks Open Studios. From handout accompanying the exhibition: ‘Welcome to Without You I’m Nothing (Blue)’, a display of works by Sands Murray-Wassink. All of the works have been unearthed in the process of Gift Science Archive, a ‘monumental’ archiving performance/performance of archiving undertaken by Murray-Wassink and collaborators Amalia Calderón (artistic researcher), Megan Hoetger (curator, If I Can’t Dance) and Radna Rumping (independent editor) over the last 18 months within the frame of Murray-Wassink’s guest residency at the Rjksakademie and his commission with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. The materials on display include paintings on paper and fabric, photographs and video, as well as works by Senga Nengudi and Carolee Schneemann from Murray-Wassink’s personal collection.

Close


Listings connecting to the keyword “Belonging” (696)



Image of Studio object

  • Catalog No.
  • 02170-1995/1998-TwLd-ILookEvenBetter
  • Title
  • I look even better
  • Dimensions
  • 29.5 x 21
  • Materials
  • Scented marker on A4 stationary
  • Object Location
  • Physical

  • Technical Notes

Like the horse drawings, the letterhead drawings are not always on letterhead, but share amongst them use of the handwritten text.


  • Reflection Notes

“I printed this stationary to use for my business, but never really used it for that. I used it to start making drawings on. My Mom had sent me fruit scented markers with animals printed on them, which I had used in my childhood. I used these to make the drawings, declarative statements to find my way.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 02202-1995/1998-TwLd-LetTheRest(Framed)
  • Title
  • Let the rest (framed)
  • Dimensions
  • 29.5 x 21
  • Materials
  • Scented marker on A4 stationary
  • Object Location
  • Physical

  • Technical Notes

Like the horse drawings, the letterhead drawings are not always on letterhead, but share amongst them use of the handwritten text.


  • Reflection Notes

“I printed this stationary to use for my business, but never really used it for that. I used it to start making drawings on. My Mom had sent me fruit scented markers with animals printed on them, which I had used in my childhood. I used these to make the drawings, declarative statements to find my way.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 02234-c2015-TwA4-CommodificatioOfFeministArt
  • Title
  • Commodification of feminist art
  • Dimensions
  • 29.5 x 21
  • Materials
  • Acrylic paint on pages of Gai Pied magazine
  • Object Location
  • Physical

  • Technical Notes

The pages are yellowed and cracked with age. Dutch Curator Erik Hagoort gave SMW a few huge boxes of these French gay liberation magazines from the 80s, and SMW intuitively started painting on them. There are many more than those listed in the archive.


  • Reflection Notes

“I had to throw away a lot of these, there were also Dutch gay liberation magazines in the boxes Erik Hagoort gave me, called ‘De Verkeerde Krant’ or so, (‘van de verkeerde kant’ was a Dutch saying for a queer person) but due to storage I could not keep everything as a resource to use. There are hundreds of these painted drawings, and they get quite a good response. Paul Thek = newspaper paintings, Karen Finley = same as Paul Thek, Erik Hagoort is the partner of Dutch artist Albert van Westing and AA Bronson showed a fondness for the drawings.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 02266-c2015-TwA4-MyStrategy
  • Title
  • My Strategy
  • Dimensions
  • 29.5 x 21
  • Materials
  • Acrylic paint on pages of Gai Pied magazine
  • Object Location
  • Physical

  • Technical Notes

The pages are yellowed and cracked with age. Dutch Curator Erik Hagoort gave SMW a few huge boxes of these French gay liberation magazines from the 80s, and SMW intuitively started painting on them. There are many more than those listed in the archive.


  • Reflection Notes

“I had to throw away a lot of these, there were also Dutch gay liberation magazines in the boxes Erik Hagoort gave me, called ‘De Verkeerde Krant’ or so, (‘van de verkeerde kant’ was a Dutch saying for a queer person) but due to storage I could not keep everything as a resource to use. There are hundreds of these painted drawings, and they get quite a good response. Paul Thek = newspaper paintings, Karen Finley = same as Paul Thek, Erik Hagoort is the partner of Dutch artist Albert van Westing and AA Bronson showed a fondness for the drawings.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 02298-c2015-TwA4-HeavyDemand
  • Title
  • Heavy Demand
  • Dimensions
  • 29.5 x 21
  • Materials
  • Acrylic paint on pages of Gai Pied magazine
  • Object Location
  • Physical

  • Technical Notes

The pages are yellowed and cracked with age. Dutch Curator Erik Hagoort gave SMW a few huge boxes of these French gay liberation magazines from the 80s, and SMW intuitively started painting on them. There are many more than those listed in the archive.


  • Reflection Notes

“I had to throw away a lot of these, there were also Dutch gay liberation magazines in the boxes Erik Hagoort gave me, called ‘De Verkeerde Krant’ or so, (‘van de verkeerde kant’ was a Dutch saying for a queer person) but due to storage I could not keep everything as a resource to use. There are hundreds of these painted drawings, and they get quite a good response. Paul Thek = newspaper paintings, Karen Finley = same as Paul Thek, Erik Hagoort is the partner of Dutch artist Albert van Westing and AA Bronson showed a fondness for the drawings.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 00236-2001-PsW2000-IHATEINSTITUTIONS!
  • Title
  • I HATE INSTITUTIONS!
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

Close



Image of Studio object

  • Catalog No.
  • 00053-1993/1995-C-SignatureCollage-032
  • Title
  • Signature Collage
  • Dimensions
  • 29.5 x 21
  • Materials
  • Letter/drawing and oil crayon
  • Object Location
  • Physical

  • Reflection Notes

“Letter to Angie Marks. I never sent it to her. She was always known for being beautiful. I went to Kansas and said: you look beautiful as always. She said: you look like you always do. Conflicted relationship. Something to separate with my past. Never got sent.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 00085-1993/1995-C-SignatureCollage-064
  • Title
  • Signature Collage
  • Dimensions
  • 24 x 18
  • Materials
  • Black and white photo print
  • Object Location
  • Physical

  • Technical Notes

Self-printed.

Close



Image of Studio object

  • Catalog No.
  • 00207-c2000-PsW2000-PROCESSION
  • Title
  • PROCESSION
  • Dimensions
  • 42 x 59
  • Materials
  • Pen and poster marker on paper
  • Object Location
  • Physical

  • Reflection Notes

“I was already obsessed with my blood, a lot of these paintings say that, cause I was diagnosed positive in 2006. ‘SMW Untitled’ gets boring very quickly, you have to be careful.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 00241-c2001-PsW2000-Homosexualmen#2
  • Title
  • Homosexual men #2
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

Close



Image of Studio object

  • Catalog No.
  • 00277-2001-PsW2000-ORALANDANAL
  • Title
  • ORAL AND ANAL
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

  • Technical Notes

19:15 at night. 14th March, Wednesday. De Ruijterkade 128, 2nd Floor (first studio address outside of school).

Close



Image of Studio object

  • Catalog No.
  • 02330-c2015-TwA4-ThingsAndPeople
  • Title
  • Things and people
  • Dimensions
  • 29.5 x 21
  • Materials
  • Acrylic paint on pages of Gai Pied magazine
  • Object Location
  • Physical

  • Technical Notes

The pages are yellowed and cracked with age. Dutch Curator Erik Hagoort gave SMW a few huge boxes of these French gay liberation magazines from the 80s, and SMW intuitively started painting on them. There are many more than those listed in the archive.


  • Reflection Notes

“I had to throw away a lot of these, there were also Dutch gay liberation magazines in the boxes Erik Hagoort gave me, called ‘De Verkeerde Krant’ or so, (‘van de verkeerde kant’ was a Dutch saying for a queer person) but due to storage I could not keep everything as a resource to use. There are hundreds of these painted drawings, and they get quite a good response. Paul Thek = newspaper paintings, Karen Finley = same as Paul Thek, Erik Hagoort is the partner of Dutch artist Albert van Westing and AA Bronson showed a fondness for the drawings.” – SMW.

Close



Image of Studio object

Photographer: Sander van Wettum

  • Catalog No.
  • 02378-2021-DoE-WithoutYouImNothing12
  • Title
  • Without You I'm Nothing (Blue)
  • Dimensions
  • Variable
  • Materials
  • Digital image file
  • Object Location
  • Digital

  • Technical Notes

Installation on occasion of the Rijks Open Studios. From handout accompanying the exhibition: ‘Welcome to Without You I’m Nothing (Blue)’, a display of works by Sands Murray-Wassink. All of the works have been unearthed in the process of Gift Science Archive, a ‘monumental’ archiving performance/performance of archiving undertaken by Murray-Wassink and collaborators Amalia Calderón (artistic researcher), Megan Hoetger (curator, If I Can’t Dance) and Radna Rumping (independent editor) over the last 18 months within the frame of Murray-Wassink’s guest residency at the Rjksakademie and his commission with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. The materials on display include paintings on paper and fabric, photographs and video, as well as works by Senga Nengudi and Carolee Schneemann from Murray-Wassink’s personal collection.

Close



Image of Studio object

  • Catalog No.
  • 00311-c2001-PsW2000-MetSlechteMensenGaatHetA…
  • Title
  • Met Slechte Mensen Gaat Het Altijd Good.
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on cardboard
  • Object Location
  • Physical

  • Technical Notes

Translation: ‘It’s always going good with bad people’.

Close



Image of Studio object

  • Catalog No.
  • 00343-2000-PsW2000-GAYISDRIVING
  • Title
  • GAY IS DRIVING
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

  • Reflection Notes

“Did I ask for your opinion? Stay in your body.” – AC. “Stay in your lane.” – SMW.

Close