1993-1995

“Letter to Angie Marks. I never sent it to her. She was always known for being beautiful. I went to Kansas and said: you look beautiful as always. She said: you look like you always do. Conflicted relationship. Something to separate with my past. Never got sent.” – SMW.

“‘Morning, fuck me up my ass’. Wilke and bubblegums. As far as genius goes, she is whatever that means. I was drawing teeth all the time. I heard that if a man has a dream about their teeth fall out, it’s got to do with impotence. Men dream a lot of things that have to do with impotence. I am not looking forward to being impotent, cause I like to come. But sex is not penetrative to me. Andrea Dworkin. Paul Preciado.” – SMW. “Tricky when you get Butler or US references. I am happy when people do the same thing out of the (colonial) bubble. Imperial knowledge. Dali, Lorca and Bunuel in love in the Spanish almost-Renaissance.” – AC and SMW.

“One of those philosophers everybody tells you to like, that I actually like. Killed by a bus, relational figure to Gaudí? I feel like very often artists die young. Yes, and it could have been me at any point. You have to go on, if you want to. Life is not a requirement. But it definitely isn’t a choice when it comes to a bus (or maybe it is).” – SMW with AC.

“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.

“First artists friends only in Amsterdam. Successful artists – you must be intelligent because you don’t say much. I go in the opposite direction and talk too much and insist that I have something to say. You can never have too many references, there is so many people creating things all the time. When an audience (pays), I have a gun to my head and i have to be as truthful, honest and vulnerable as possible. You better do it or die. I don’t see what I do as entertainment, that is the opposite of what I do. I respond in the moment, but it has taken 20 years to get to the point.” – SMW.

“Alan Saret was from Kansas and that’s why I chose this, interested in figuring out whereas there was anything intrinsic as to being from Kansas/and there isn’t. Kansas as washed out and bleached photo. Started as desperation, all these materials dragged to Europe in bin bags.” – SMW.

“Sexually, we are a mirror for each other when you cruise. You can never see yourself as other people see you – we have to get in each other’s head and that can’t happen. Archiving puts me back – I need to go back and forth between who I was and who I am.” – SMW.

Inventorying session – 27.08.20. “Are we all the best artists in the world?” AC [in reply to SMW]. “Young artists and the flow of past voices – not taking down but breathing through.” – AC.

“I’m already a man I don’t want to take up too much space – on men overtaking/monopolising conversations.” – SMW.

“Wilke’s vaginal gum sculptures. You die, the value goes sky high. Assertion of myself over a painful past, Wilke to melt with her. Can I see myself in relation to her and what she does?” – SMW.

“Britney is timeless. She survived 2008.” – SMW and AC.

“This is a rescued work, I didn’t even remember it.” – SMW

“I wanted to escape and exist independently (from De Ateliers).” – SMW.