Please,
sit the hell down
imagine yourself digging through the studio archive three hours per week
eating almonds on a lavender chair and sexing everything,
More
sit the hell down
we are not producing “museum didactic panels” [MH]
“our archiving is sharing, it’s like opening up a heart.” [SMW]
Our collective storytelling is a mode of knowledge transmission
of counter dominant narrative forms threading metanarratives into the relational, practising methods for survival/care/RESILIENCE. We operate in messiness,
sharing slippery magic & extravagant palettes of emotion through non-benign processes: a pushback pull-through of gifting, exchanging, borrowing, bartering, thieving. We have TOO MUCH intimacy, TOO LITTLE shame,
we transcribe hours-long recorded conversations, distribute letters to your doorstep, and always keep mandarins.
We do it actively, purposefully, (at times) lazily and as a constant blurring of ourselves and others, of work and home, of art and life,
performing an entanglement to the science of being relational beings.
It’s called “gift science” for a reason. – AC.
Image of Studio object
Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.
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Published morning pages.
SMW, AC & Invited Archivist inventorying session – 15.10.20. “I realised I was contributing to my own erasure as an artist. One way to bypass institutions was to publish as a form of feminist queer lesbian emancipation [instead of an] archive of misogyny.” – IA.
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SMW & AC inventorying session – 24.09.20. “Spine as a love limb.” – SMW. “Love-limb.” – SMW.
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Created for ‘The dear…’ series initiated by Martha Jager in Spring 2020.
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Photographer: Megan Hoetger
Date: 22 February-5 March, 2021. Location: mistral, Amsterdam (Pakhuis Wilhelmina).
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Photographer: Marcel de Buck
Presentation for the If I Can’t Dance Edition VIII – Ritual and Display Introductory Kick-Off Weekend. The artist’s textile paintings adorn the space throughout the weekend. Here, he shares on his multimedia practice, concentrating on its early beginnings in 1993, in a slide show that makes clear his reliance on feminist figures like Carolee Schneeman, Hannah Wilke and Adrian Piper. He then dances before a dual projection – Schneemann video and footage from his studio – in and out of step with ‘Starlight’ by The Supermen Lovers.
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Text co-written by Amalia Calderón and Megan Hoetger for an archiving marathon series that was never realised due to pandemic conditions.
GSA inventorying session – 10.09.20. “Horse book writing HORSE BACK RIDING!” – SMW.
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Photographer: Charlott Markus
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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The extended second process event in the three-part series featured an epistolary exchange between the artist and Bilbao-based curator Aimar Arriola. The exchange took place between June 2020 and February 2021, and – in process – was shared in www.ificantdance.studio between December 2020 and April 2021. From the ificantdance.studio: “Dipping in and out of a slow-time conversation between an artist and curator. To be read, whether chronologically or not, in an intimate space during moments alone”. – MH.
“To rhyme an ending with a new beginning. The winter holidays are over, and the communiqués close here, on 6 February 2021 about a week after Aimar’s 45th birthday. After months of backs and forth, of dreaming and planning, of delicately finding each other through words and images, Aimar opens up about health, about identification and about intimacy and its blockages. His admissions are somewhat unexpected, as is the affective impact of them. In his own final gesture of ‘spilling out’, Aimar offers a closing rhyme matched in its formal clarity of thought only by the rawness of psychic grappling evident in its content. Sedgwick comes to mind once again, this time her understanding of the beauty of not fully knowing people. In Aimar’s final letter (and the final of this eight-month epistolary exchange), it’s the sort of ‘too much’ that only an air sign can give, and, with it, Aimar at last comes to meet the ‘spilling out’ of Sands—not by mimicking Sands’ modes of expression, but, rather, by making visible his own intensities of feeling.Aquarius season.I think that says it all.” – MH studio note from ificantdance.studio.
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Foreword written by Frédérique Bergholtz on the occasion of the Rijksakademie 150-year anniversary publication.
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Photographer: Megan Hoetger
Visitor-researcher Beau Bertens engages with materials from Gift Science Archive at mistral, Amsterdam.
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Listings connecting to the keyword “Sharing” (835)
00213-2000…
Philosophical…
Working 2000
c. 2000
Image of Studio object
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00248-2000…
Philosophical…
Working 2000
2000
Image of Studio object
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00284-c200…
Philosophical…
Working 2000
c. 2001
Image of Studio object
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00318-2000…
Philosophical…
Working 2000
Tim Miller
2000
Image of Studio object
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00350-2000…
Philosophical…
Working 2000
2000
Image of Studio object
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00382-c200…
Philosophical…
Working 2000
Leigh Ledare
c. 2002
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“Sometimes I think of psychic pain, and there’s so much of it that I just block it, I could have never guessed that things would be like they are now… but I hoped.” – SMW. “I guess that is part of the artist life… the imposter syndrome.” – AC.
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00429-2000…
Philosophical…
Working 2000
2000
Image of Studio object
“I tend not to listen to men.” – AC.
Rijksakademie Internal Open Studios – 07.09.20. “I think my work is super awkward and I’m proud of it.” – SMW.
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00616-2009…
Photographs
Documentation of…
Carolee Schneemann,…
2009
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Photographs in collaboration with Johanna Braun. Location: Johanna Braun’s apartment, Vienna, Austria, first district. Photographer: Unknown.
From 27. April (WeTransfer notes): “The other 11 images are from 2009 as well. They were taken in Vienna and are a performance with artist Johanna Braun where I am both art historian and nude, and Johanna and I perform together discussing her work. This was based on a 1969 work by Carolee Schneemann in London called ‘Naked Action Lecture’ where she was art historian of her own work in a slide show and got naked at a certain point to see if she could keep her authority.” – SMW.
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00711-2010…
Photographs
Performance…
Sabian Baumann
2010
Image of Studio object
Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.
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00743-2010…
Photographs
Performance…
Sabian Baumann
2010
Image of Studio object
Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.
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00775-2010…
Photographs
Performance…
Sabian Baumann
2010
Image of Studio object
Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.
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00807-2010…
Photographs
Performance…
Sabian Baumann
2010
Image of Studio object
Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.
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00839-2010…
Photographs
Performance…
Sabian Baumann
2010
Image of Studio object
Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.
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00871-2010…
Photographs
Performance…
Sabian Baumann
2010
Image of Studio object
Documentation of course co-taught in Zürich in 2010 together with http://www.sabianbaumann.ch. Dates: 14-17 September 2010.
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01251-2000…
Philosophical…
Working 2000
Carolee Schneemann
2000
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Exceptional Working 2000 (‘Working 2000 XL’); pendent piece with ‘Me + My Lover’.
“A response to the story of Schneemann’s removal from Reutgers faculty because, it was said, ‘she was a witch’.” – SMW paraphrased by MH.
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