Sharing

SMW and AC inventorying session [date unknown]. “Sometimes when I pass people on the street who are angry or tense… I think, they need a good f.” – AC. “When I said to Carolee my most important problems were sex and shit… I just realised last night that that means life and death.” – SMW. “An embodied infinite.” – AC. “In a very earthly way.” – SMW.

Rijksakademie Internal Open Studios – 07.09.20. “A crossover.” – SMW. “Career overlaps across time… an art network chronology.” – AC. “Archiving as becoming a story.” – Anon. “The relational quality of the space, it’s unpredictable.” – AC. “Archival revenge as a method to reclaiming feminine/masculine [and non-binary] symbologies. – AC and Anon.

GSA meeting (unknown date). “It feels very much like world-building.” – AC.

MH & AC meeting – 29.03.21. “This matrix like balance of a perfect archive.” – AC. “The violence of the taxonomical…” – MH.

From 14. April 2020 (email exchange): “Sarah makes ‘bunnies’ (sculptures she calls… ) so the bunny ears are funny.” – SMW.

“Missing Strands. The year is coming to a close, and in the weeks before winter holidays six more communiqués are exchanged. There is an attempt to wrap things up, even as there is full recognition of the impossibility of that—some strands will always stay missing, in the letters as in relationships. In a letter dated 9 December (though began in the week prior), the topic of queer form returns, this time with an extended quote from Eve Kosofsky Sedgwick in which she articulates her understanding of queer formalism. For Sedgwick (and, in turn, for Aimar), it involves a kind of fantastic imbuing wherein ‘… objects whose meaning seemed mysterious, excessive, or oblique in relation to the codes most readily available to us, became a prime resource for survival. We needed for there to be sites where the meanings didn’t line up tidily with each other, and we learned to invest those sites with fascination and love.’ And then New Year begins. It is marked here by a letter within a letter, sent by Sands to Aimar on the first day of 2021. The nested letter dates back much further, to 2015 when Sands wrote to Carolee Schneemann following their difficult meeting in Salzburg during the opening of Schneemann’s retrospective exhibition at the Museum der Moderne. In this moment of carefully selected over-sharing, Sands performs one final gesture of ‘spilling out’—Sedgwick’s description of the excessive, of survival and of the need for sites of messiness (where things don’t quite line up) seems to come alive on the page. For all of that ‘abundance’, though, indeed some strands will always stay missing.” – MH studio note from ificantdance.studio.