Intergenerational

What is a legacy? What is legendary?

Where do women's voices go after they speak, and who can carry them?
Paying homage to the naked, the horizontal, the vulnerable...

Feminist intergenerational assemblages are not methodologies of receiving but of re-telling and transforming life experiences passed down throughout histories. Gift Science Archive envisions intergenerational art as RESILIENCE of fragmented visions: conversations that turn into colliding chronologies, juxtaposed by fierce political (in)correctness. Passing down responsibilities and fulfilling quasi-biographical DREAMS is to us almost an obscured prophecy, weighed down by hxstorical voices but also capable of floating through MONUMENTS to their struggle. Our queered archive here listens to gayness, intersectionality, rioting, resistance and practices of feeling, altogether shape-shifting through time and bodies in a continuum of collective biographies. We ask:

IS THIS GOOD FOR ANUS? For mothers? For the offspring of witches past? – AC.

Image of Studio object

  • Catalog No.
  • 01473-2020-DN-AWomanifesto
  • Title
  • A Womanifesto in response to archiving tips from Adrian Piper and archiving practices with Sands Murray-Wassink
  • Dimensions
  • Variable
  • Materials
  • Digital word document file
  • Object Location
  • Digital
  • Technical Notes

Written by Amalia Calderón, Gift Science Archive Artistic Researcher, on occasion of the for the Rijksakademie 150-year anniversary publication (December 2020).

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Image of Studio object

  • Catalog No.
  • 01474-2012-DN-AdrianPiperArchivingTips
  • Title
  • Adrian Piper Archiving Tips
  • Dimensions
  • Variable
  • Materials
  • Digital word document file
  • Object Location
  • Digital
  • Technical Notes

Archiving tips sent to SMW by Adrian Piper via email in 2012 in response to photographs of SMW’s studio shared with Piper.

  • Reflection Notes

“(We had) To put AP’s tips to the test.” – SMW.

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Photographer: Robin Wassink-Murray

  • Catalog No.
  • 02381-2019-FwPP-Carolee+Sands
  • Title
  • Carolee + Sands Magic Hair Pyramid & Working 2000 x 3
  • Dimensions
  • Variable
  • Materials
  • Construction in hand-carved, hand-gilded frame (triangle) and three framed signed works (rectangles) of photo collages printed from slides
  • Object Location
  • Physical
  • Technical Notes

“Above: Carolee had a knot in her hair. We were in her hotel room in Frankfurt where we met for her retrospective in 2017. She asked me if I could help to comb her hair and untangle the knot, and she insisted that Robin photograph it as a performance. Below: In 2000 in the first house that Robin and I shared together in Amsterdam, which was 19 square meters, I was on the phone arranging a purchase from Ronald Feldman Gallery of ‘Handle with Care,’ a work by Hannah Wilke. As Robin often does, he documented the action as a work.” – SMW.

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Image of Studio object

  • Catalog No.
  • 02382-1991/2021-FwGT-nt(Sengalinocut)
  • Title
  • n.t. (Senga linocut)
  • Dimensions
  • 44 x 75
  • Materials
  • Framed lino-block and print
  • Object Location
  • Physical
  • Technical Notes

Lino-block produced (and signed on the back) by Senga Nengudi in 1991, which gifted to SMW around 2011 and printed at the Rijksakademie print lab during SMW’s guest residency in 2021.

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Image of Studio object

  • Catalog No.
  • 00068-1993/1995-C-SignatureCollage-047
  • Title
  • Signature Collage
  • Dimensions
  • 29.5 x 21
  • Materials
  • Photocopy and oil crayon
  • Object Location
  • Physical
  • Reflection Notes

“Performalist. It’s funny when your image becomes part of your work. Hannah did it because she was beautiful and that was troublesome for feminists, they thought it was easy, but it wasn’t. I’ve been objectified in different ways – my face not being good enough, always commenting on my weight (I think the unusual bits of me are part of what make me queer). Who makes them entitled to someone else’s physicality? Carolee always told me to go where the difficulty is, and that is (my) physicality. So, I made it central because people thought it was important somehow to draw my attention to. Sometimes I wish I could have been more handsome but then that was all I would’ve been known as. I can bridge the more and less beautiful.” – SMW.

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Image of Studio object

  • Catalog No.
  • 00087-1993/1995-C-SignatureCollage-066
  • Title
  • Signature Collage
  • Dimensions
  • 20.5 x 25
  • Materials
  • Black and white photo print
  • Object Location
  • Physical
  • Reflection Notes

“Imagine someone in the 15th century thinking: ‘I'm gonna make a tapestry about unicorns.’ Circa 93/94 when I was an intern at the cloisters collection (NY). A responsibility to be gentle to other people – like men are not with sex.” –SMW.

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Image of Studio object

  • Catalog No.
  • 01214-1995-PSP-IdentityShots-045
  • 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.

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Image of Studio object

  • Catalog No.
  • 01254-2001-TwHd-JimDineOctopus
  • Title
  • Jim Dine Octopus
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker and pen on paper
  • Object Location
  • Physical
  • Technical Notes

First Heart Drawing, which was shown in the ‘Double Trouble’ exhibition with Schneemann at Cokkie Snoei Gallery in 2001 – “Cy Twombly wouldn’t show in a space like that.” (Schneemann)

  • Reflection Notes

“Jim Dine was, according to Schneemann, the first male to do a Happening who was making himself vulnerable.” – SMW.

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Photographer: Charlott Markus

  • Catalog No.
  • 01647-2021-DoE-InGoodCompany78
  • Title
  • In Good Company (Horsepower): Materials from the Gift Science Archive
  • Dimensions
  • Variable
  • Materials
  • Digital image files
  • Object Location
  • Digital
  • Technical Notes

SMW solo exhibition at mistral, Amsterdam (2021). The exhibition opens up the process of the ‘monumental’ 18-month collaborative performance Gift Science Archive (GSA) to the public for haptic engagements with the artist’s working and archiving processes. Visitors are invited to peruse the GSA archive database and to pull materials from the collection for a closer look and, over a cup, for a story. The ‘research experience’ is thus set into relational motion, by conversations – a central part of Murray-Wassink’s practice. Co-curated by Megan Hoetger (If I Can’t Dance) together with Radna Rumping and Huib Haye van der Werf (mistral).

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Image of Studio object

  • Catalog No.
  • 02246-c2015-TwA4-LetItSinkIn
  • Title
  • Let it sink in
  • 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.

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Image of Studio object

  • Catalog No.
  • 01881-2020-MaAR-MetaArchiveConversation#5
  • Title
  • Meta-Archive Conversation #5: Sands & Amalia
  • Dimensions
  • N/A
  • Materials
  • Digital sound file
  • Object Location
  • Digital
  • Technical Notes

“An aspect of the meta-archive, which includes a series of longer recorded conversations initiated by RR (with Sands, with Sands and Amalia Calderón and with Sands and Robin Wassink-Murray), which aimed to capture ideas about value, structure, and care for an artistic practice, as well as providing plenty of space for sharing references, gossip, and ‘information’ – one of Sands’ main materials. These seven hours of interviews – some in Dutch and some in English – are all in their unedited richness part of the meta-archive, both as audio recordings and transcriptions (translations and transcriptions by Martha Jager).” – RR.

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Image of Studio object

  • Catalog No.
  • 02210-c2015-TwA4-Thekian
  • Title
  • Thekian
  • 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.

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Listings connecting to the keyword “Intergenerational” (683)

Image of Studio object

  • Catalog No.
  • 01172-1995-PSP-IdentityShots-003
  • 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.

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Image of Studio object

  • Catalog No.
  • 01204-1995-PSP-IdentityShots-035
  • 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.

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Image of Studio object

Photographer: Radna Rumping

  • Catalog No.
  • 01419-2020-MaPi-ConversationAmaliaAndSands-0…
  • Title
  • Conversation Amalia and Sands
  • Dimensions
  • Variable
  • Materials
  • 10 phone snapshots
  • Object Location
  • Digital
  • Technical Notes

Date: 27.08.20. Location: Rijksakademie, studio manege. Images taken before and after a recorded conversation with Sands and Amalia, featuring materials on the floor, Sands and Amalia holding a painting, and ‘denk aan parfum’ t-shirt at the door.

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Photographer: Charlott Markus

  • Catalog No.
  • 01572-2021-DoE-InGoodCompany03
  • Title
  • In Good Company (Horsepower): Materials from the Gift Science Archive
  • Dimensions
  • Variable
  • Materials
  • Digital image files
  • Object Location
  • Digital
  • Technical Notes

SMW solo exhibition at mistral, Amsterdam (2021). The exhibition opens up the process of the ‘monumental’ 18-month collaborative performance Gift Science Archive (GSA) to the public for haptic engagements with the artist’s working and archiving processes. Visitors are invited to peruse the GSA archive database and to pull materials from the collection for a closer look and, over a cup, for a story. The ‘research experience’ is thus set into relational motion, by conversations – a central part of Murray-Wassink’s practice. Co-curated by Megan Hoetger (If I Can’t Dance) together with Radna Rumping and Huib Haye van der Werf (mistral).

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Image of Studio object

Photographer: Charlott Markus

  • Catalog No.
  • 01604-2021-DoE-InGoodCompany35
  • Title
  • In Good Company (Horsepower): Materials from the Gift Science Archive
  • Dimensions
  • Variable
  • Materials
  • Digital image files
  • Object Location
  • Digital
  • Technical Notes

SMW solo exhibition at mistral, Amsterdam (2021). The exhibition opens up the process of the ‘monumental’ 18-month collaborative performance Gift Science Archive (GSA) to the public for haptic engagements with the artist’s working and archiving processes. Visitors are invited to peruse the GSA archive database and to pull materials from the collection for a closer look and, over a cup, for a story. The ‘research experience’ is thus set into relational motion, by conversations – a central part of Murray-Wassink’s practice. Co-curated by Megan Hoetger (If I Can’t Dance) together with Radna Rumping and Huib Haye van der Werf (mistral).

Close

Image of Studio object

Photographer: Charlott Markus

  • Catalog No.
  • 01636-2021-DoE-InGoodCompany67
  • Title
  • In Good Company (Horsepower): Materials from the Gift Science Archive
  • Dimensions
  • Variable
  • Materials
  • Digital image files
  • Object Location
  • Digital
  • Technical Notes

SMW solo exhibition at mistral, Amsterdam (2021). The exhibition opens up the process of the ‘monumental’ 18-month collaborative performance Gift Science Archive (GSA) to the public for haptic engagements with the artist’s working and archiving processes. Visitors are invited to peruse the GSA archive database and to pull materials from the collection for a closer look and, over a cup, for a story. The ‘research experience’ is thus set into relational motion, by conversations – a central part of Murray-Wassink’s practice. Co-curated by Megan Hoetger (If I Can’t Dance) together with Radna Rumping and Huib Haye van der Werf (mistral).

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Image of Studio object

  • Catalog No.
  • 01876-2020-MaAR-MetaArchiveConversation#3
  • Title
  • Meta-Archive Conversation #3: Skype Call Sands & Radna
  • Dimensions
  • N/A
  • Materials
  • Digital sound file
  • Object Location
  • Digital
  • Technical Notes

“An aspect of the meta-archive, which includes a series of longer recorded conversations initiated by RR (with Sands, with Sands and Amalia Calderón and with Sands and Robin Wassink-Murray), which aimed to capture ideas about value, structure, and care for an artistic practice, as well as providing plenty of space for sharing references, gossip, and ‘information’ – one of Sands’ main materials. These seven hours of interviews – some in Dutch and some in English – are all in their unedited richness part of the meta-archive, both as audio recordings and transcriptions (translations and transcriptions by Martha Jager).” – RR.

Close

Image of Studio object

  • Catalog No.
  • 00043-1993/1995-C-SignatureCollage-022
  • Title
  • Signature Collage
  • Dimensions
  • 11.5 x 20
  • Materials
  • Photo print and oil crayon
  • Object Location
  • Physical
  • Technical Notes

Self-printed.

  • Reflection Notes

“It was a relief to get it [HIV], because I didn’t have to be scared anymore. I was so scared of the idea of it.” – SMW.

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Image of Studio object

  • Catalog No.
  • 00075-1993/1995-C-SignatureCollage-054
  • Title
  • Signature Collage
  • Dimensions
  • 26.5 x 22
  • Materials
  • Black and white photo print
  • Object Location
  • Physical
  • Technical Notes

Self-printed. With cut-outs.

  • Reflection Notes

“Ben Shawn, The Shape of Content. My frustration often is that many artists are focused on the form. Acquiring form through content. Hmmm what shape can we give to the content.” – AC and SMW.

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Image of Studio object

  • Catalog No.
  • 00264-2001-TwHd-TopekaWasReally
  • Title
  • Topeka Was Really
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker and pen on paper
  • Object Location
  • Physical
  • Reflection Notes

“It took me until my late thirties to make peace (with the city and its people, who were the problem). It was 150000 but felt like 15.” – SMW. “I think we can all make peace with it as long as we don’t get back there (permanently).” – AC.

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Photographer: Luc Matthys

  • Catalog No.
  • 00526-2004-PP-ValieSandsEqualitiesEquivalenc…
  • Title
  • Sands & VALIE: Equalities, Equivalences
  • Dimensions
  • Variable
  • Materials
  • Live action
  • Object Location
  • Digital
  • Social link(s)
  • · Irritation (negative)
  • · Correspondence
  • Year
  • Technical Notes

Location: Maes and Matthys Gallery Antwerp Belgium.

  • Reflection Notes

9 april 2020 (WeTransfer notes): “AND also the ones with VALIE and that’s when VALIE got so pissed with me. Top secret but also top important/significant.” – SMW.

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  • Catalog No.
  • 02231-c2015-TwA4-WillyNilly
  • Title
  • Willy nilly
  • Dimensions
  • 29.5 x 21
  • Materials
  • Abcrylic 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.
  • 02263-c2015-TwA4-TheConceptOfWork
  • Title
  • The Concept of Work
  • 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.
  • 02295-c2015-TwA4-LivingHumanBody
  • Title
  • Living Human Body
  • 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.

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Image of Studio object

  • Catalog No.
  • 02327-c2015-TwA4-GottaGive
  • Title
  • Gotta give
  • 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