Miss Read Stage 2017

Friday, July 14, 2017

5pm Anna Heringer, Christa Kamleithner, Dietmar Steiner and Nikolaus Kuhnert Am Ende: Architektur (ARCH+)

Parallel to the utopian architects of the 1960’s, arises a critical architectural question: what remains at “the end” of the discursive practices of the last 50 years? Is a new direction to social architecture necessary? The architects Anna Heringer, known for her social architecture firm, discusses these questions with the theorist Christa Kamleithner, founder of the Vienna architecture center Dietmar Steiner, and Nikolaus Kuhnert, the publisher of ARCH+.

7pm AA Bronson, Antonia Majaca, Elvia Wilk and Metahaven TBC, hosted by Julieta Aranda What’s Love (or Care, Intimacy, Warmth, Affection) Got to Do with It? (e-flux journal & Sternberg Press), mini-symposium

Over the past few decades, it has often been said that we no longer have an addressee for our political demands. But that’s not true. We have each other. What we can no longer get from the state, the party, the union, the boss, we can ask for from one another. And we provide. Lacan famously defined love as giving something you don’t have to someone who doesn’t want it. But love is more than a YouTube link or a URL. This beautiful negative flip of what is commonly considered the most positive force in the universe helps us begin to see love’s fullness and endless bounty, as based in emptiness and lack—in mutual loss. Love’s joy is not to be found in fulfillment, but in recognition: even though I can never return what was taken away from you, I may be the only person alive who knows what it is. I don’t have what it is that you’re missing, but knowing its shape already makes a world where you can live without it.

Love is the most recently introduced member in the family of inflation and bloat. It is a burst of fresh air fed straight into the bubble. It gives the Ponzi scheme at least another decade before people start to think about cashing out. Remember when you would run out of time and replace that with energy? Push a little harder and move a little faster and you can trick time, because darling you’re a superhero. But when you run out of time and energy alike, you run into a problem. You need help. You need support. You need love and a bit of tenderness. Now, with the help of others, you can feed the machine again.


Saturday, July 15, 2017 Conceptual Poetics Day

The Conceptual Poetics Day 2017 will have a vague focus on silence, nothing, the blank and the void(s).

1pm  Paul Stephens and Sebastian Campos Klatsch: Coffee Coffee, Convolution Convolution, Dworkin Dworkin, Grenier Grenier, Saroyan Saroyan, The Text as Artifact & The 23 Fonts, (We Have Photoshop) (Convolution Journal)

In this informal talk, Sebastian Campos and Paul Stephens will introduce Convolution by way of Craig Dworkin’s Klatsch, an essay on Robert Grenier and Aram Saroyan from the journal’s fourth issue. Copies of the essay will be provided, and audience participation encouraged.

2pm Sharon Kivland Nana, according to emptinessA reading. (MA BIBLIOTHÈQUE)

I have been reading Nana by Émile Zola for some time now, over many years. Zola’s novel, his ‘true story’ of the demi-monde, was published in installments, first appearing in October 1879 in the Voltaire. The definitive version in book form was published on 15 February by Charpentier. I read and I re-read the book, in both French and English. I digested the book, condensing it, organizing it into themes, appearances; yes, I assimilated it. Today it is according to emptiness.

MA BIBLIOTHÈQUE is the imprint of the artist and writer Sharon Kivland, established in 2013. The publications are modestly yet attractively produced, usually printed in small editions, such as the series The Good Reader, in which Kivland invites others to reflect on reading. New books include: Naomi Toth and Vanessa Place, After Vanessa Place, Sharon Kivland, Reading Nana and A Lover’s Discourse, Helen Clarke & Sharon Kivland (eds), The Lost Diagrams of Walter Benjamin, Peter Jaeger, The Shadow Line, Sarah Wood, Civilisation and its Malcontents, and by various authors, The Dreamers.


All the text of Stéphane Mallarmé’s poem of the same name is cut out and played on an automatic piano (Pianola Metrostyle Themodist, The Aeolian Company, NY 1910)
Mallarmé had written the poem in 1897, also saw it published in a magazine called Cosmopolis, but left copious notes as to how it should be typeset, instructions that were finally carried out 16 years after his death, in 1914.
In 1969 this work was appropriated by notorious Marcel Broodthaers, who replaced the words by black stripes. He replaced the classification ‚POEME‘ on the cover by the word ‚IMAGE’. In 2008 Pichler published an edition classified ´SCULPTURE´, with all the words cut out by laser, in a way that corresponds directly to the typographic layout used by Mallarmé to articulate the text.

2:30pm Cia Rinne l’usage du mot / notes for soloists / zaroum (kookbooks)

The texts that are focused on in, l’usage du mot / notes for soloists / zaroum, belong to my project, zaroum, and are short minimalistic texts, written in English, German and French, or shifting between each language with phonetic similarities. The texts address the forming of an idea, a word or a quote, that when spoken develops a tone, rhythm or even a melody. The two sequences, notes for soloists and l’usage du mot similarly serve as scores, visualizing and conceptualizing the ways that this theme of shifting between languages is related to something musical or melodic.

2:45pm Sanna Marander and Niklas Tafra You say it best when you say nothing at all (Kunstverein Publishing)

You say it best when you say nothing at all is a performative reading by Sanna Marander and Niklas Tafra with appropriated words by Felix Fénéon, George Seurat, Charles Baudelaire, Yayou Kusama and others. Marander and Tafra’s recent book is a retrial of a Parisian court case from 1894 where art critic Felix Fénéon was accused of an anarchist bombing. The performance revolves around a detail in the book: a conflict between Fénéon and artist George Seurat, where the art critic was accused by the artist of using an over-explanatory language.

3pm Alice Maude-Roxby and Stefanie Seibold Censored Realities (Camera Austria)

This project publishes for the first time the complete texts of photographer Berenice Abbott’s famous modernist documentary project Changing New York. Abbott’s partner, the well known journalist and art critic Elizabeth McCausland, has completed a full set of captions that were to serve as critical-poetic commentaries alongside the famous images, but were eventually edited out by the publisher bit by bit for their progressive, leftist political leanings.

4pm Simon Morris Reading as Art (Information as Material)

Explorations of the possibilities of reading as an artistic act. The works displayed and under discussion find different means to foreground and to investigate the activity of reading: the forms it can take (silent reading, reading aloud, spontaneous reading, purposeful reading, and so on), the matter of reading (the book, the screen, the space of the page), the bodies that engage in it and the contexts in which it occurs.

5pm Pavel Büchler Work for Words: The Message of the Medium

Büchler talks about two overlapping interests in his recent work with language: the limitless semantic potential of language and the material and technological limitations and possibilities of working with letters and words. Taking as a starting point the historical links among cryptography, Morse code and letter frequencies, the presentation will explore the ‚message‘ of such language technologies as the letterpress, digital synthetic speech and Google translate.

6pm Derek Beaulieu a a novel (Jean Boîte Éditions)

Building upon my previous novels flatland: a romance of many dimensions (2005) and Local Colour (2008), my a a novel, an erasure-based translative response to Warhol’s controversial masterpiece. On each page of Warhol’s original, I erase all of the text leaving only the punctuation marks and onomatopoeic words. Theodor Adorno, in his essay “Punctuation Marks” argues that punctuation marks are the “traffic signals” of literature and that there is “no element in which language resembles music more than in the punctuation marks.”
Published in the autumn of 1968, Andy Warhol’s a a novel consists solely of the transcribed conversations of factory denizen Ondine (Robert Olivo). Ondine’s amphetamine-addled conversations were captured on audiotape as he haunted the factory, hailed cabs to late-night parties and traded gossip with Warhol and his coterie. The tapes were quickly transcribed by a quartet of stenography students (including The Velvet Underground’s Moe Tucker); rife with typographic errors, censored sections—and a chorus of voices—the 451 pages of transcriptions became, unedited, “a new kind of pop artefact.”
Warhol’s a a novel favours faithful transcription over plot, chance over predicted composition, and a novel’s ideas over its actual content.

Pavel Büchler Live, intermitting sound pieces between presentations

Live compiles the sound of audiences excerpted from the artist’s collection of live recordings of concerts (reportedly jazz concerts, though I could swear I hear Stevie Ray Vaughan in there).
That collection consisted of 351 albums, and thus 351 became the number of limited-edition copies of Büchler’s Live committed to vinyl.


Sunday, July 16, 2017

The Sunday programm will be announced soon.