2020

“Sands just bought a new wig, to fit with his new wrap-dress. It’s the first wig after the older one from 1999, who was called Lemon Pie (short: Lemon). This one, found on a sale rack at the Backstage, has longer hair, is from Revlon with a ‘tomato bisque’ colour: Sands calls her Strawberry Short Cake (short: Straw). As always the lines are blurring, figuring out the ‘updated’ outfit, as an extension of oneself, feels like a significant production: ‘I never know when I’m working and not working’. But: we feel like doing some hands on archive work today, and start to unroll some of the Thought Paintings-to measure, title and document them and start archiving to see how the filing system with a catalogue number could work.” From the meta-archive process diary. – RR.

“By just picking a few of the paintings randomly from the stack of rolls we immediately discover different strands of Sands’ work and history; such as a rough painting that Sands send to Tracy Emin, that she returned by mail, in 2009: ‘It’s a rough painting to test if Tracy could deal with it, and obviously she couldn’t. It looks like it has been kicked and smashed. I have given Tracy so much of my loyalty-maybe too much?’.” From the meta-archive process diary. – RR.

“Books as weights to keep the painting rolled out on the floor, a table instead of a ladder-ways of auto-archiving, no need to do it perfect.” – RR.

“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.

“BOYS. BOYS. BOYS. BOYS. BOYS. BOIS. BOIS. VOIS. VOISE. VOICE. VOICE? // Glitter clipped to the wall// dripping down sweaty rsvps // i WILL NEVER call you. Glitter cascading down a skin far too unflattering. Glitter naked // threading us the emperor’s robe // parading up and down your throatGLITTER UP // those // uncanny expectators…they know // they KNOW // how to // make a fit among the living // Glitter up and down like // good-too-quick-i’m-coming sex as af // ill-in for the gender mob // glitter my words: i can be trashy. Glitter in your cornea // GOLDEN VISIONS // or nothing at all. // WILL NEVER-GLITTER UP-KNOW-GOLDEN VISIONS // WGKG WGKG WGKG WGKG WGKG WGKG WGKG WGKG.” – AC.

“Shabby chic, slackerism.” – RR.

“The real deal.” – 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.