Resilience

Resilience comes through
her femme rage
his STRAWBERRY SHORTCAKE wig
their insider/outsider institutional frame-hopping the lack of remorse for lies well spent
MISTRAL winds
and a dance for the revolution.

We survived the “last and least bastard Carl Andre”. We survived the DOMESTIC vortex of pandemic life. We survived cishet male artist “recommendations”. We survived a world without performances, and the voluptuous chimeric body of digital archive materials. We survived our twenties. We survived bad sex. We survived zoom meetings. We survived the pictures of ourselves we didn’t like but kept anyways in buried, hoping to cocoon them into butterflies. We survived the am-I-a-whore-internalised-patriarcal-guilt. We survived Adrian Pipers rejection of our INVITATION. We survived depression and we made a f*cking monument.

Resilience comes in measures unprovoked,
along with
the messiness of long-lived ambitious lives,
and the true meaning of the word “dare”. – AC.



Image of Studio object

  • Catalog No.
  • 01117-2013-CP/PP-OfficialUglyFaceFolder-057
  • Title
  • Official Ugly Face Folder
  • Dimensions
  • Variable
  • Materials
  • Digital image file
  • Object Location
  • Digital

  • Technical Notes

Location: Swammerdamstraat Apartment Amsterdam, various locations.


  • Reflection Notes

‘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.

Close


Image of Studio object

  • Catalog No.
  • 01164-2013-CP/PP-OfficialUglyFaceFolder-104
  • Title
  • Official Ugly Face Folder
  • Dimensions
  • Variable
  • Materials
  • Digital image file
  • Object Location
  • Digital

  • Technical Notes

Location: Swammerdamstraat Apartment Amsterdam, various locations.


  • Reflection Notes

‘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.

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

Photographer: Radna Rumping

  • Catalog No.
  • 01375-2020-MaPi-HangingTime-029
  • Title
  • Hanging Time
  • Dimensions
  • Vhoariable
  • Materials
  • 50 phone snapshots
  • Object Location
  • Digital

  • Technical Notes

Date: 25.02.20. Location: Rijksakademie, studio manege. Images of installation activities in the studio, with SMW, MH and Roger Cremers who assists with hanging a large vinyl print and the framed work dedicated to Carolee Schneemann. Unpacking materials. Sands holding a drawing with a clock and 'tyranny' text, a gift for Roger. The beginnings of making the horse cloud on the studio wall.


  • Reflection Notes

“An example of a horse drawing, without a horse. I know, it’s magic.” – RR.

Close


Image of Studio object

Photographer: Radna Rumping

  • Catalog No.
  • 01404-2020-MaPi-HorseCloud-008
  • Title
  • Horse Cloud
  • Dimensions
  • Variable
  • Materials
  • 14 phone snapshots
  • Object Location
  • Digital

  • Technical Notes

Date: 04.03.20. Location: Rijksakademie, studio manege. Images of working on large horse cloud with SMW, MH and Amalia Calderón. First time GSA meeting with Amalia present, images of Sands and Amalia talking with poster of Hannah Wilke in the background.


  • Reflection Notes

Rijksakademie Internal Open Studios – 07.09.20. “[I feel] nervous, uncomfortable.” – SMW. “It’s about the way they [visitors] manoeuvre their space. It completely changed – intruder!” – AC. “We are a collective and part of our work is the corporeality of it.” – SMW. “We are representing two silent [not present] partners. We are performative. How to do that without the performers?” – AC. “Just leave the door open.” – SMW. “We are not complete renegades, only slightly.” – AC.

Close


Image of Studio object

  • Catalog No.
  • 01183-1995-PSP-IdentityShots-014
  • 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.
  • 02383-c2015-DN-Literally
  • Title
  • Literally
  • Dimensions
  • Variable
  • Materials
  • Scan of pen on paper
  • Object Location
  • Digital

  • Technical Notes

Very few of these remain as SMW had to start throwing them away with no space to keep them anymore (still produced but periodically have to be cleaned out).

Close


Image of Studio object

  • Catalog No.
  • 02151-c2014-TwCd-RejectionIsOnly
  • Title
  • Rejection is only
  • Dimensions
  • Variable
  • Materials
  • Digital word document file
  • Object Location
  • Digital

  • Technical Notes

Some of the computer drawings have been printed and other have not. All could be printed at any scale in any material upon request.


  • Reflection Notes

“An elegant and typically strange solution for making work, which I was very proud of. I just type in a word document and print on cheap A4 printer paper. ‘Pure text, message as image’.” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 01472-2020-C-AnalCollage(PRIDE&JOY)
  • Title
  • Anal Collage (PRIDE & JOY)
  • Dimensions
  • 100 x 200
  • Materials
  • Photo prints glued with plextol B500 on prepared linen canvas stretched on aluminium frame
  • Object Location
  • Physical

  • Technical Notes

Created during spring 2020 lockdown and only work to be assembled (glued to canvas) in the Rijks studio.


  • Reflection Notes

SMW & AC inventorying session – 08.10.20. “My work is quite flat, almost reductive or stripped down. It’s not a negative thing.” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 00357-2000-PsW2000-Affirmation
  • Title
  • Affirmation
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

  • Reflection Notes

Email exchange – 26.04.20. “[on sharing email exchanges] I am sharing it not to overload you but to be affirmative towards life.” – SMW.

Close


Image of Studio object

  • Catalog No.
  • 01470-2015-PsW2010s-CannotBeRuined
  • Title
  • Cannot Be Ruined
  • Dimensions
  • 50 x 65
  • Materials
  • Acrylic and color pencil on paper
  • Object Location
  • Physical

Close


Image of Studio object

  • Catalog No.
  • 02177-1995/1998-TwLd-IAmFlawlessly
  • Title
  • I am flawlessly
  • 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.
  • 02128-c2014-TwCd-Conviction
  • Title
  • Conviction
  • Dimensions
  • Variable
  • Materials
  • Dkigital word document file
  • Object Location
  • Digital

  • Technical Notes

Some of the computer drawings have been printed and other have not. All could be printed at any scale in any material upon request.


  • Reflection Notes

“An elegant and typically strange solution for making work, which I was very proud of. I just type in a word document and print on cheap A4 printer paper. ‘Pure text, message as image’.” – SMW.

Close


Listings connecting to the keyword “Resilience” (578)



Image of Studio object

  • Catalog No.
  • 02272-c2015-TwA4-NoBigDeal
  • Title
  • No Big Deal
  • 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.
  • 02304-c2015-TwA4-ControlledUncontrolled
  • Title
  • Controlled Uncontrolled
  • 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.
  • 02336-c2015-TwA4-LackOfInspiration
  • Title
  • Lack of Inspiration
  • 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.
  • 00022-1993/1995-C-SignatureCollage-001
  • Title
  • Signature Collage
  • Dimensions
  • 42 x 35
  • Materials
  • Paper bag and oil crayon
  • Object Location
  • Physical

  • Technical Notes

Bag from Agnes B. (When SMW trying to business-like in presentation).


  • Reflection Notes

“Mis-referencing, referencing and creating networks. I had some success in galleries in the beginning, and I hated it”. Abramović gallery. The greedy gallery floor. – SMW.

Close



Image of Studio object

  • Catalog No.
  • 00054-1993/1995-C-SignatureCollage-033
  • Title
  • Signature Collage
  • Dimensions
  • 9 x 12.5
  • Materials
  • Photo print and oil crayon
  • Object Location
  • Physical

  • Technical Notes

Photo not taken by SMW (taken from mother’s best friend’s apartment window).


  • Reflection Notes

...when the twin towers were still there…

Close



Image of Studio object

  • Catalog No.
  • 00086-1993/1995-C-SignatureCollage-065
  • Title
  • Signature Collage
  • Dimensions
  • 29.5 x 21
  • Materials
  • Photocopy
  • Object Location
  • Physical

  • Reflection Notes

“The bastard husband of Ana Mendieta. Writing my name over patriarchy. You're just flesh and bone like us. Mortal like us. More or less.” – SMW. “Covered in corn oil that never truly dries. Why people thought he was such an important artist. Oh, that asshole again.” – SMW.

Close



Image of Studio object

  • Catalog No.
  • 00409-2001-TwHd-TheWhiteBoy
  • Title
  • The White Boy
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker and pen on paper
  • Object Location
  • Physical

  • Reflection Notes

“I like looking a bit rough. That you can see the signs of life in a man, that turns me on.” – SMW.

Close



Image of Studio object

Photographer: Luc Matthys

  • Catalog No.
  • 00537-2004-PP-ValieSandsEqualitiesEquivalenc…
  • Title
  • Sands & VALIE: Equalities, Equivalences
  • Dimensions
  • Variable
  • Materials
  • Lpive 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.

Close



Image of Studio object

  • Catalog No.
  • 00706-2010-DoP-MindBodyLandscape-026
  • Title
  • MindBodyLandscape – 14 September session
  • Dimensions
  • Variable
  • Materials
  • Variable
  • Object Location
  • Digital

  • Technical Notes

Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.

Close



Image of Studio object

  • Catalog No.
  • 00738-2010-DoP-MindBodyLandscape-058
  • Title
  • MindBodyLandscape – 14 September session
  • Dimensions
  • Variable
  • Materials
  • Variable
  • Object Location
  • Digital

  • Technical Notes

Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.

Close



Image of Studio object

  • Catalog No.
  • 00770-2010-DoP-MindBodyLandscape-090
  • Title
  • MindBodyLandscape – 15 September session
  • Dimensions
  • Variable
  • Materials
  • Variable
  • Object Location
  • Digital

  • Technical Notes

Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.

Close



Image of Studio object

  • Catalog No.
  • 00802-2010-DoP-MindBodyLandscape-122
  • Title
  • MindBodyLandscape – 15 September session
  • Dimensions
  • Variable
  • Materials
  • Variable
  • Object Location
  • Digital

  • Technical Notes

Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.

Close



Image of Studio object

  • Catalog No.
  • 00834-2010-DoP-MindBodyLandscape-154
  • Title
  • MindBodyLandscape – 16 September session
  • Dimensions
  • Variable
  • Materials
  • Variable
  • Object Location
  • Digital

  • Technical Notes

Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.

Close



Image of Studio object

  • Catalog No.
  • 00866-2010-DoP-MindBodyLandscape-186
  • Title
  • MindBodyLandscape – student drawings
  • Dimensions
  • Variable
  • Materials
  • Variable
  • Object Location
  • Digital

  • Technical Notes

Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.

Close



Image of Studio object

  • Catalog No.
  • 01187-1995-PSP-IdentityShots-018
  • 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