Sharing

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,

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.

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  • Catalog No.
  • 00878-2010-PP-MindBodyLandscape-198
  • 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.

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  • Catalog No.
  • 00418-2007-DN-ProFeministWhiteFlowers
  • Title
  • Pro-feminist White Flowers
  • Dimensions
  • 21 x 29.7cm
  • Materials
  • Bound A4 laserjet copies on colour paper
  • Object Location
  • Physical
  • Technical Notes

Published morning pages.

  • Reflection Notes

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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  • Catalog No.
  • 00194-c2000-PsW2000-SpineAsALove-limb
  • Title
  • Spine As A Love Limb
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical
  • Reflection Notes

SMW & AC inventorying session – 24.09.20. “Spine as a love limb.” – SMW. “Love-limb.” – SMW.

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  • Catalog No.
  • 00455-2020-DN-PerduLetter
  • Title
  • Perdu Letter
  • Dimensions
  • 21 x 29.7
  • Materials
  • Color copy of typed letter with drawing and scent card
  • Object Location
  • Physical
  • Technical Notes

Created for ‘The dear…’ series initiated by Martha Jager in Spring 2020.

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Photographer: Megan Hoetger

  • Catalog No.
  • 01726-2021-MaPi-MakingInGoodCompany60
  • Title
  • Making In Good Company
  • Dimensions
  • Variable
  • Materials
  • 93 phone snapshots
  • Object Location
  • Digital
  • Technical Notes

Date: 22 February-5 March, 2021. Location: mistral, Amsterdam (Pakhuis Wilhelmina).

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Photographer: Marcel de Buck

  • Catalog No.
  • 01560-2019-DoP-UpToAndIncludingHisLimits07
  • Title
  • Up To And Including His Limits
  • Dimensions
  • Variable
  • Materials
  • Live action and installation
  • Object Location
  • Digital
  • Technical Notes

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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  • Catalog No.
  • 01478-2020-UbR-HybridHorseHeartsArchivingMar…
  • Title
  • Hybrid Horse Hearts Archiving Marathons
  • Dimensions
  • Variable
  • Materials
  • Digital word document file
  • Object Location
  • Digital
  • Technical Notes

Text co-written by Amalia Calderón and Megan Hoetger for an archiving marathon series that was never realised due to pandemic conditions.

  • Reflection Notes

GSA inventorying session – 10.09.20. “Horse book writing HORSE BACK RIDING!” – SMW.

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Photographer: Charlott Markus

  • Catalog No.
  • 01652-2021-DoE-InGoodCompany83
  • 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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  • Catalog No.
  • 01500-2020/2021-DN-ProcessEvent#2RELATIONSHI…
  • Title
  • Process Event #2: RELATIONSHIPS. Feminist Legacies, Queer Intimacies
  • Dimensions
  • Variable
  • Materials
  • Epistolary exchange undertaken via email and published on ificantdance.studio
  • Object Location
  • Digital
  • Technical Notes

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.

  • Reflection Notes

“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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  • Catalog No.
  • 01476-2021-DN-13Years18Months
  • Title
  • 13 years, 18 months
  • Dimensions
  • Variable
  • Materials
  • Digital word document file
  • Object Location
  • Digital
  • Technical Notes

Foreword written by Frédérique Bergholtz on the occasion of the Rijksakademie 150-year anniversary publication.

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Photographer: Megan Hoetger

  • Catalog No.
  • 01866-2021-DoP-InGoodCompany (visitor…
  • Title
  • In Good Company (visitor engagement)
  • Dimensions
  • Variable
  • Materials
  • Digital image file
  • Object Location
  • Digital
  • Technical Notes

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)

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Photographer: Charlott Markus

  • Catalog No.
  • 01610-2021-DoE-InGoodCompany41
  • 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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Photographer: Charlott Markus

  • Catalog No.
  • 01642-2021-DoE-InGoodCompany73
  • 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: Robin Wassink-Murray

  • Catalog No.
  • 01766-2021-DoP-InGoodCompany10
  • Title
  • In Good Company (Horsepower): Materials from the Gift Science Archive
  • Dimensions
  • Variable
  • Materials
  • Live action
  • Object Location
  • Digital
  • Technical Notes

Photos from the virtual opening of 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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Photographer: Robin Wassink-Murray

  • Catalog No.
  • 01903-2021-DoP-InGoodCompany23
  • Title
  • In Good Company virtual tour
  • Dimensions
  • Variable
  • Materials
  • Digital registration of live action
  • Object Location
  • Digital
  • Technical Notes

Closing virtual tour of the exhibition ‘In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present’, which was lead by the artist and If I Can’t Dance curator Megan Hoetger. 21 May 2021, 17.00-18.30hr. mistral, Amsterdam, corner Groenhoedenveem – Veemkade (Pakhuis Wilhelmina).

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Photographer: Robin Wassink-Murray

  • Catalog No.
  • 01935-2021-DoP-InGoodCompany55
  • Title
  • In Good Company virtual tour
  • Dimensions
  • Variable
  • Materials
  • Digital registration of live action
  • Object Location
  • Digital
  • Technical Notes

Closing virtual tour of the exhibition ‘In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present’, which was lead by the artist and If I Can’t Dance curator Megan Hoetger. 21 May 2021, 17.00-18.30hr. mistral, Amsterdam, corner Groenhoedenveem – Veemkade (Pakhuis Wilhelmina).

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Image of Studio object

  • Catalog No.
  • 02235-c2015-TwA4-Agency
  • Title
  • Agency
  • 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.
  • 00221-2000-PsW2000-IsGiorgioArmaniGay?
  • Title
  • Is Giorgio Armani Gay?
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker and pen on paper
  • Object Location
  • Physical
  • Reflection Notes

“Sometimes I think that what I do has more sense accumulatively. It makes more sense collectively.” – SMW.

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  • Catalog No.
  • 00255-2000-PsW2000-ImSoAfraid
  • Title
  • I'm so afraid
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

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Image of Studio object

  • Catalog No.
  • 00291-c2001-PsW2000-GAY(Pink)
  • Title
  • GAY (Pink)
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker and pen on paper
  • Object Location
  • Physical

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Image of Studio object

  • Catalog No.
  • 00325-2000-PsW2000-Mistresspiece
  • Title
  • Mistresspiece
  • Dimensions
  • 42 x 59
  • Materials
  • Poster marker on paper
  • Object Location
  • Physical

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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.

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Image of Studio object

  • Catalog No.
  • 00389-c2002-PsW2000-WITHMONEY
  • Title
  • WITH MONEY
  • Dimensions
  • 30 x 42
  • Materials
  • Oil crayon, glue and photographs on paper
  • Object Location
  • Physical
  • Reflection Notes

Rijksakademie Internal Open Studios – 07.09.20. “My relationship with money is disastrous.” – SMW. “If you show them [galleries, museums, employers in general] that they can do that to you, they will do it to everyone. We need to get paid for the hours that we put in, not the product. My salary per hour is X much, as per X Artist Association guidelines.” – N/A.

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Image of Studio object

  • Catalog No.
  • 02267-c2015-TwA4-FlawedLogic
  • Title
  • Flawed Logic
  • 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.

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Image of Studio object

  • Catalog No.
  • 02299-c2015-TwA4-OnceFamous
  • Title
  • Once Famous
  • 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.
  • 02331-c2015-TwA4-White
  • Title
  • White
  • 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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