3-Ply, Victoria

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Re-print #3: I Have No Time (1983 [1979])
Mladen Stilinović

“Despite Mladen’s instruction to read this book when I have no time, when I am very busy, I first ‘properly’ read I have no time when I had a lot of time, while lying in bed in a hospital in the early 1990s. It was then that I began to understand that this small book was more than some small joke. I have no time, I have no time, I have no time… is for me a kind of mantra, to stop and think about what and why I am doing something, anything…Paradoxically the pursuit of laziness requires an active engagement in stealing back time. That activity becomes harder and harder when time seems to accelerate and is consumed by an endless quota of daily tasks (even supposedly art associated) and so this little book, first hand-written in 1978, becomes more and more important (to read properly) through time, especially when you are very busy…”
— Kerrie Poliness, Re-print #3: I Have No Time (1983 [1979])

The Re-print project is a curated series that reintroduces out-of-print artist publications to a contemporary audience. The series also exploits the character of the reprints to insert interventions in public archives: introducing material that was never legally deposited, or reinserting previously archived publications in the form of mediated replications, thereby indexing the originals.

The book selected for Re-print #3 is Nemam vremena (1979) [I Have No Time (1979)] (1983) by Mladen Stilinović. The 1983 version was offset printed by Edition Dacic, Tubingen, in an edition of 150 copies. The specific book scanned for this Re-print was loaned from the collection of artist John Nixon.

Nemam vremena (1979) [I Have No Time (1979)] was the first printed version of ‘I Have No Time’, and was an Artist’s Edition, 70 copies. It was offset printed in Zagreb, seven sheets, softcover, stapled, 17.5 x 13.5 cm.

Nemam vremena (1978) [I Have No Time (1978)] was the original version of ‘I Have No Time’. It was handwritten by Mladen Stilinović in pencil on paper, nine sheets (four written on), cardboard covers, stapled, 17 x 24 cm.

Mladen Stilinović (April 10, 1947 – July 18, 2016) was a Croatian conceptual artist. He was one of the leading figures of the so-called “New Art Practice” in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.

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Re-print #3: I Have No Time (1983 [1979]) by Mladen Stilinović
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124,908
Tara McDowell (Ed.)

124,908 by Tara McDowell, with photography by Daro Sulakauri, experiments with how to document exhibitions in an embodied way. It deals with an exhibition that unfolded throughout the postindustrial city of Rustavi in the Republic of Georgia, in conjunction with the 2nd Tbilisi Triennial. The exhibition was titled for Rustavi’s population – 124,908 – and featured works by Xin Cheng, Leone Contini, Eliza Dyball, Clementine Edwards, George Egerton-Warburton, Cevdet Erek, Debris Facility, Emma Fitts, Amy Franceschini, Helen Grogan, Susan Jacobs, Ash Kilmartin, Ieva Misevičiūtė, Virginia Overell, and Kateřina Šedá. Echoing the model of Lucy R. Lippard’s numbers exhibitions from the early 1970s, Tara McDowell and assistant curator Nicholas Tammens invited artists to propose temporary artworks, which were installed in the city center, factory square, museum, theaters, pyramid and zoo, working with local artists, students, and Rustavi residents.

The images within the publication 124,908 were taken by photojournalist Daro Sulakauri over a single day (October 3, 2015) of the exhibition. The fragmented text that intersperses this image narrative reflects the fractured, time-skipping nature of the project’s composition. Lucy R. Lippard has reacted to the project as the “best understood account” of her numbers exhibitions, but 124,908 could also be characterised as facing the impossibilities of re-curation.

Design by Žiga Testen

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HEROES – Fanfiction (Centre for Style)
Fayen d’Evie, Matthew Linde, Spencer Lai, Jake Swinson (Eds.)

Edited by Fayen d’Evie, Matthew Linde, Spencer Lai and Jake Swinson
Design by Toby Tam

Contents include a feature text “The Banquet” by Monicas’s Gallery with Jessie Kiely, and image contributions from: Adam Wood, Anna-Sophie Berger, Aurelia Guo, Brendan Morris, Bror August, Caley Feeney, Chloé Elizabeth Maratta, Claire Barrow, D&K, Dara Allen, Eric Mack, Galen Erickson thanks to Matthew Drury, Callum Hawke, Oscar Khan and Arthur Marie, George Egerton-Warbuton, Giovanna Flores, Grace Anderson, H.B. Peace, Hamishi Farah, Hana Earles, Harry Burke, Jake Levy, Jessie Kiely, Joseph Geagan, Josey Kidd-Crowe, Kate Meakin, Kulisek-Lieske, Laura Fanning, Matty Bovan, Mel Paget, Milo Conroy, Misty Pollen, Nora Slade and Peter Guffield Linden, Rafael Delacruz, Rare Candy, Richard Malone,Ruth O’Leary, Ryohei Kawanishi, Sasha Geyer, Shahan Assadourian, Sophie Hardeman, Spencer Lai, Stefan Schwartzman, and Wiley Guillot.

Initiated by 3-ply and Centre for Style, HEROES conflates the artist book and the fashion magazine. The ‘hero look’ is a term used to describe the penultimate outfit of a designer’s collection. Often the most conceptually-driven moment of the runway, the hero outfit serves as a signpost for a designer’s signature style, not quotidian wearability. For this inaugural issue of HEROES, contributors were invited to approach the act of fashion design as a narrative of fanfiction, identifying as readers and fans of their own canon to generate a character or caricature of their personal style. With timeframes restricted to a day, techniques of assemblage and improvisation were privileged, as contributors constructed visceral manifestations of subjectivity through self-fashioned hero looks.

HEROES/Fanfiction includes a feature text “The Banquet” written by Monica’s Gallery with Jessie Kiely, that opens: “ACT I. It was within the candle-lit caverns beneath the wondrous castle bestowed upon The Fat Baron Oörif that the banquet took place. The air thick with magic…” Appropriating the fanfiction trope as a codified lookbook, the text weaves elaborate descriptions of characters and fantastical sub-plots, over the course of a banquet hosted for fifteen guests by a former trade tycoon, within his castle of soft provincial feel. Spiralling through philosophical, intersubjective and social commentary, this parallel universe lookbook interlaces acute reflections on meta-trends, personal freedoms and nested human artefacts.

Edition of 1000

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Helen Johnson
Painting is a Critical Form

Within this book, Helen Johnson considers the operations of painting today, proposing means by which painting, as an aesthetic practice, might continue to make a critical address. She describes the book thus, Being a painter in a post-medium specific context does not mean approaching painting as some sort of anachronistic refuge, or thinking that the modernist project of the specific medium can be rehabilitated, or even continue to be flogged. As a site for the production of meaning, painting is a rich field of loadings, neuroses and suggestiveness that can mesh with aesthetic qualities to make a charged conceptual space. Focusing on works by Juan Davila and Martin Kippenberger, this book proposes an extended understanding of how painting can operate aesthetically, grounded in Immanuel Kant’s formulation of aesthetic experience as implicitly connected to critical reflection. Kant’s Critique of Aesthetic Judgement constitutes the basis of a mobilisation of aesthetics for the reading of painting beyond formalism, embracing aesthetic criticality as an open position of refusal, rather than the dogmatic pursuit of a rational conclusion.”

 

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