2020

“That’s still the case. Consistency.” – RR.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

“Figuring out more typologies. How do we call the ‘It’s a Schneemann thing’ mug and other objects that Sands has printed by companies such as Hema? A sculpture. Letters, notes and other texts that have been distributed? Distributed notes. ‘one thing at a time’ ‘better late than never’.” – RR. From the meta-archive process diary. “This is a drawing by MH, thinking about a structure for the archive.” – RR.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

“Is it trash or trashy? Trashy can be good, but these rolled paintings were first stored in trash bags, and perhaps that went a bit too far. Can we also let the paintings be trashy, while store them in a more careful way?” – RR.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

“2009 was the year Sands started to paint (again) and from this time we find the figurative Erykah Badu painting, but also a more text-based painting mentioning for instance Iris Kensmil, and texts that are overlapping each other. They remind me of hyperlinks, with different windows popping up-a sort of analog web/internet.” From the meta-archive process diary. – RR.

“MH discussed the set-up for an archive, with possibilities for cross-referencing-‘Adrian would be proud’. Names and relations with people can play a big role and become one of the ways to search through the archive (aside from year, typology etc). It would be great if the archive will eventually become public. Our conversation went on about Sands his website and its current list of names (mostly female or feminist artists). Sands mentioned there have been many other websites before, built in collaboration with Robin, including one that had 3500 links (!). The link and reference as a way to give attention to others. Thinking of these websites, and how Sands used social media such as facebook as a ‘process archive’, it’s a reminder Sands has actually been taking care of his archiving for a long time.” From the meta-archive process diary. – RR.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.

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.” – Anon.

From 12. April 2020 (WeTransfer notes): “they are a bit too close for me to properly ‘judge’, they are a bit neutral for me. Carolee always told me to go to where the difficulty was, and somehow my face has always been a challenging situation.” – SMW. 30. April 2020 (inventory note): “I also think of Jo Spence, the British artist, being told she was ‘brave’ for using her own image when she was not classically beautiful. And Carolee Schneemann and Hannah Wilke subverting the ‘ideal image’. I feel somewhere in between as I swing between ‘more ideal’ and ‘less ideal’.” – SMW.