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.
Close
Image of Studio object
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.
Close
Image of Studio object
SMW & AC inventorying session – 24.09.20. “Spine as a love limb.” – SMW. “Love-limb.” – SMW.
Close
Image of Studio object
Created for ‘The dear…’ series initiated by Martha Jager in Spring 2020.
Close
Image of Studio object
Photographer: Megan Hoetger
Date: 22 February-5 March, 2021. Location: mistral, Amsterdam (Pakhuis Wilhelmina).
Close
Image of Studio object
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.
Close
Image of Studio object
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.
Close
Image of Studio object
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).
Close
Image of Studio object
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.
Close
Image of Studio object
Foreword written by Frédérique Bergholtz on the occasion of the Rijksakademie 150-year anniversary publication.
Close
Image of Studio object
Photographer: Megan Hoetger
Visitor-researcher Beau Bertens engages with materials from Gift Science Archive at mistral, Amsterdam.
Close
Listings connecting to the keyword “Sharing” (835)
02270-c201…
Thought works
Gai Pied drawings
A.A. Bronson, Albert van…
c. 2015
Image of Studio object
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.
“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
02302-c201…
Thought works
Gai Pied drawings
A.A. Bronson, Albert van…
c. 2015
Image of Studio object
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.
“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
02334-c201…
Thought works
Gai Pied drawings
A.A. Bronson, Albert van…
c. 2015
Image of Studio object
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.
“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
00224-c200…
Philosophical…
Working 2000
c. 2001
Image of Studio object
Close
00258-2000…
Philosophical…
Working 2000
2000
Image of Studio object
Close
00294-2001…
Philosophical…
Working 2000
2001
Image of Studio object
Close
00328-2000…
Philosophical…
Working 2000
Cy Twombly
2000
Image of Studio object
Close
00360-2000…
Philosophical…
Working 2000
José Leonilson Bezerra…
2000
Image of Studio object
Close
00392-c200…
Philosophical…
Working 2000
c. 2002
Image of Studio object
Close
00446-c200…
Philosophical…
Working 2000
c. 2001
Image of Studio object
“See? Again! We were just talking about taboo.” – AC. “These are like tarot cards, they tell us things we were already dealing with.” – SMW.
Close
00689-2010…
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.
Close
00753-2010…
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.
Close
00785-2010…
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.
Close
00817-2010…
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.
Close
00721-2010…
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.
‘Am I living the life of a courtesan?’ – 31.03.20. “On money, nudity & paying homage – Archiving a nude body can prove to be a hazard. // How do you fold it? // Perhaps from the top: arm to shoulder, nail to hair-lock, voice to tongue. // Take aim, it's simple. // Push it down. Maybe a bit harder. It doesn't really fit. Where do I put the hands? // Those teeth bite, stay away. Keep them far. // ‘They are worth the money’ you say. // You // have teeth marks on your back.” – AC.
Close