Institutional Garbage: Nam Chi Nguyễn

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Nam Chi Nguyễn, “The Checkout Girl Manifesto,” 2016


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Institutional Garbage: Contracts from the Dutch Institute

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The Multinational Book of Contracts: Contracts from the Dutch Institute
Obe Alkema, Fiep van Bodegom, Maarten van der Graaff and Mia You
The Multinational Book of Contracts is a collaboration-in-progress by Mia You and Maarten van der Graaff, for which they invite writers from various countries, writing in various languages, to draft “contracts” that are radical, poetic, absurd, speculative, insurrectionary, even obstinately quotidian. This project interrogates the ways in which intimacy, emotions and relationships are bureaucratized (either through regulations or through theorization); it also considers the form of a contract as a template for experimental poetic or performative practice.
The Multinational Book of Contracts: Contracts from the Dutch Institute is a selection from the Netherlands by Obe Alkema, Fiep van Bodegom, Maarten van der Graaff and Mia You.
click on the following links to see works
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 “Contract of Employment,” drafted by Mia You
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contract tussen man en jongen,” drafted by Maarten van der Graaff
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Contactverbod tegen Obe Alkema,” issued by Lito Rodriguez & Hernando
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Institutional Garbage: Patrick Durgin

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Patrick Durgin, “Imitation Demise,” 2016

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Institutional Garbage: Jane Lewty

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Jane Lewty, The Topic Is Not Groundbreaking; Substantial Research Has Already Been Undertaken In The Field Of Modernism, i.e. Life Slips By Like A Field Mouse, Not Shaking The Grass., 2016

 

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Institutional Garbage: Jill Magi

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Jill Magi, “Curious, Fugitive, and Inedited (The Art Labor Archive of Teaching Days),” 2016

Curious, Fugitive, and Inedited takes its name from an odd section of Robert Chambers’ 19th century The Book of Days, “a miscellany of popular antiquities in connection with the calendar.” As an “archive of teaching days,” this project’s content is comprised of the detritus of in-class writing exercises—trace elements of the moments of teaching when the institutional creative writing instructor invites the class to write, provides a prompt, and then writes alongside her students. The texts that result are anxious and scattered—they are “curious, fugitive, and inedited”—and in this artist’s view, they appear to be garbage. The handwritten scribbles that pepper her writing notebooks are re-presented here in a kind of retrograde visual fashion: typed on an old typewriter that has no ribbon, typed through a sheet of carbon paper so as to make an imprint that is susceptible to smudging and eventually fading. The presence of a time stamp and archive cataloguing stamp suggest that writing is a recursive act—a repeated happening in shared classroom space—and at the same time the pages suggest solidarity and even equality among teacher and students. Yet as pages typed out, scanned, and digitized, these text shards excavate labor whose value is unclear and that goes nowhere except into The Art Labor Archive: an unfunded institution located in the artist’s imagination and with occasional manifestations as art projects for installation and digital space. (Note: the writer/writing teacher acknowledges that the phrase “veiled spill,” imprinted on her subconscious and reproduced on page -45479, is most certainly from her writing/teaching colleague Jan Clausen’s 2014 book Veiled Spill: A Sequence. The writer/writing teacher apologizes for any other undetected, unacknowledged influence transfers.)

 

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