Bookstore Feature: 6 Titles for 1:1
Bookstore Feature: 6 Titles for 1:1
Sector 2337 will be opening the Green Lantern Press event season with Lou Mallozzi’s solo exhibition 1:1 on February 16th, 2018. Working with sound, performance, and installation, Mallozzi’s site-specific works draw upon experiences and discoveries he encountered at Krems-Wachtberg, an archeological site near Vienna where the artist was in residence in 2015. The first discovery was a burial of twin infants in a shared grave; the second was a piece of ivory striped with red ochre. Both of these excavations are considered among the oldest in the world of their kind. Mallozzi’s responsive exhibition traces layers of topography, history, and intimacy.
We have curated a selection of titles from the Green Lantern Press’s bookstore in tandem with this exhibition. These titles explore topographical layers of earth and emotion, question our associations with sound and memory, and confront contemporary art’s fixation on the past.
1:1 Planks and Twins
by Lou Mallozzi, with essays by Susy Bielak, Fred Schmalz, Seth Kim-Cohen, Bryan Markovitz, & Joseph Clayton Mills
$20 – Purchase Here
Published in conjunction with 1:1, this catalogue features drawings, photographs, and observant essays on the exhibition, as well as a transcribed interview with archaeologist Ulrich Simon. Sketches outline how Mallozzi meticulously shaped the works in his show within the space of the gallery, taking in considerations of space, structure, and sound for the exhibition. Among these full-color reproductions, we recall a line from Joseph Clayton Mills, a featured essayist in this book: “A fissure opens between original and copy, past and present, figure and ground, and we can no longer say with much certainty which is which.”
The Way of the Shovel: On the Archeological Imaginary in Art
ed. by Dieter Roelstraete, University of Chicago Press
Opening with a patterned endpaper that closely resembles topological layers (upon layers, upon layers), The Way of the Shovel presents a blank frontispiece, for you to write whom exactly “This Book Belonged To”.
Published as a companion to an exhibition at the Museum of Contemporary Art, this title presents a group of artists who unearth, archive, document, reconstruct, reenact, and excavate as the primary action of their art practices. They are participants in “memory culture” and look to the past as a means of unlocking the present and future. Based on a 2009 essay by MCA senior curator Dieter Roelstraete, the show features “artists who reveal traces feared long gone, revive technologies long thought obsolete, bring the unjustly killed back to (some form of) life, and generally seek to restore justice to anyone or anything that has fallen prey to the blinding forward march of History.” What is a museum, after all, but an elaborate machine built for time traveling – to the future and back?
by Elizabeth Arnold, Flood Editions
“It’s alive in us, what you thought, what you made
Happen in the mind …
Threading your life into us
from the other end of time.”
Excavating layers both archeological and psychological, Arnold’s poetry is capable of tracing civilizations in the minute lines of her father’s face during his progression with Alzheimer’s. She carefully locates fragmentations within shared intimate gestures that extend beyond family members to the edges of civilization. In searching for meaning in repetition and reenactment, she confronts the silence and near-futility of history. Taut in language but expansive in space and scope.
Reason and Resonance: A History of Modern Aurality
by Veit Erlmann, MIT Press
$15 – purchase here
“I am the resonance and the tone.”
Erlmann’s intensive “auditory history of knowledge” follows and unravels the close ties between philosophy, science, and aurality: all that is related to sound and hearing. Fighting the expectation that hearing is a passive second-place to the dominant sense of sight, he references a range of researchers, philosophers, poets, psychologists, and music theorists. It begins with an explanation of anatomist Samuel Sommering’s belief that the brain’s ventricular fluid was an interface joining the auditory nerve and the soul. How is sound tied to experience? What is this “intimate animosity” between reason and resonance? Does all art, and all that is created by human hands, attempt to achieve the abstraction that is found only in sound and how we hear it?
Walk Like an Egyptian
by Giovanna Silva, Motto Books
“Some of the sarcophagi have their inscriptions and images on the inside, so that only the dead can read them. As if we outside are the dream they dream and they are reminded of us from time to time while reading.”
Walk Like an Egyptian is a small book wrapped in four heavy dust jackets, introducing itself as an object to unpack and eventually reassemble. Filled with stark black-and-white images of Egyptian artefacts, assembled across museums and galleries but with no designated point of origin. The images bleed through the thin paper as evidence to their being reproductions: printed remnants only signifying a real object. These are joined by a short text by Olaf Nicolai observing a world built of nostalgic gestures and constructed histories in Cairo. Egyptian artefacts thousands of years in age are joined by wall fans, made no more than twenty years ago. Objects survive, but beyond their use. They are preserved, but we have little knowledge of their exact origins; they exist as their own replicas when completely devoid of their history.
by Catrin Morgan, Ditto
“Can an event be annihilated by its documentation?”
“Due to a technical error parts of the discussion are eliminated from the transcript.” So begins Phantom Settlements, a book that you do not read so much as traverse – through notes, figures, reproductions, maps, instructions, and misdirections. A book about deception and lies in art (so it says), it challenges our perception and recollection of histories. Copious footnotes are already circled within the text. Printed with a risograph – essentially a copy machine with vibrant ink and rapid output – which bases an image’s color construction outside of the expected CMYK palette. The most prominent color is a deep red ochre, recalling Mallozzi’s discovery of ochre-striped ivory that inspired 1:1.