Is this good for anus?

Inventorying session + invited archivist (IA) meeting – 15.09.20. “Can more voices join the archive over time? How does the future look for a ‘finished/abandoned’ archive?” – AC.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

‘Official Ugly Face Folder’ (2013) — from 12. April 2020 (WeTransfer notes): “It’s a mixed bag, but could be kept together in the archive and labelled as such (‘Ugly Face Folder’). It’s all subjective, what seems ugly when one looks at oneself. This was an attempt at ‘control’ almost by calling the images ugly I could somehow ameliorate the ‘ugliness’ I felt looking at them.” – SMW.

‘Official Ugly Face Folder’ (2013) — from 12. April 2020 (WeTransfer notes): “It’s a mixed bag, but could be kept together in the archive and labelled as such (‘Ugly Face Folder’). It’s all subjective, what seems ugly when one looks at oneself. This was an attempt at ‘control’ almost by calling the images ugly I could somehow ameliorate the ‘ugliness’ I felt looking at them.” – SMW.

‘Official Ugly Face Folder’ (2013) — from 12. April 2020 (WeTransfer notes): “It’s a mixed bag, but could be kept together in the archive and labelled as such (‘Ugly Face Folder’). It’s all subjective, what seems ugly when one looks at oneself. This was an attempt at ‘control’ almost by calling the images ugly I could somehow ameliorate the ‘ugliness’ I felt looking at them.” – SMW.

‘Official Ugly Face Folder’ (2013) — from 12. April 2020 (WeTransfer notes): “It’s a mixed bag, but could be kept together in the archive and labelled as such (‘Ugly Face Folder’). It’s all subjective, what seems ugly when one looks at oneself. This was an attempt at ‘control’ almost by calling the images ugly I could somehow ameliorate the ‘ugliness’ I felt looking at them.” – SMW.

“Detached but Intimate/Personal. These next seven letters unfold in a flurry of activity during the final two weeks of the summer holiday. With the arrival of Aimar’s first letter to Sands via post, some ‘admissions’ are put on the table and with them a comb purchased in the old town of Bilbao. This small drug-store purchase becomes like a codex through which Aimar begins to speak about his ‘self-contained’ ways—in somewhat stark contrast to Sands’ continuous “spilling out’—and, in the process, to articulate his relationship to relationships, to the (auto)biographical and to the kinds of intimacies that flow through those connections to self and others. In the last of the letters, Sands receives Aimar’s comb, making an admission of his own that sometimes he worries he is ‘too much’ and closing the communique with the thought: ‘we do not know ourselves physically as we appear to others…the same might go for behavior…’” – MH studio note from ificantdance.studio.

“The images were taken by Rudy Rijling in Amsterdam, an (at that time) older than me erotic photographer of young men whose ad I found in the back of a contact magazine. I had just gotten back from Greece with De Ateliers on a residency trip and because of the weather difference I had a very heavy red rash on the insides of my thighs. Luckily on black and white film this does not really show up. I had wanted to make this wallpaper in 1997 for my first exhibit ever at Stedelijk Museum Bureau Amsterdam but one of the curators, Martijn van Nieuwenhuyzen (a gay man himself) advised 23 year old me against it, saying I would become known as the ‘guy with the erect penis’. Carolee Schneemann told me never to be ashamed of pleasure and how the body shows it. So I was confused, but listened to him and then in 2007, ten years later, at a solo exhibit in Munich at Lothringer 13, finally had the opportunity to have the wallpaper made. I had tried to become a gay porno model, but only half-heartedly. I went back to Rudy later to ask for the negatives which he gave me, we also had sex a few times at some point. It’s one of the first times I realized that much older men were attractive to me…There were 8 strips of wallpaper and they were never glued, they exist as unique objects. I have to add and I don’t really like to, it gives me no great pleasure, that part of the idea of the wallpaper came from Andy Warhol’s Cow series of wallpaper and other series of his. But there could have been other influences this was not an exclusive influence.” – SMW.

“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.