#siglio

[zurich-snows]

From Memory by Bernadette Mayer, Siglio, 2020. Courtesy Bernadette Mayer Papers, Special Collections & Archives, University of California, San Diego.

Siglio’s Memory closes with July 31 (and with the line “you remember the past backwards & forget”), and this is the tidiest we’ve seen Bernadette: the earlier edition irreverently moved beyond its own constraint to a final section called “Dreaming,” because “memory creates an explosion of dream in August.” Here, Mayer is confined to July. About another documentary project, Studying Hunger, Mayer wrote that “a month gives you enough time to feel free to skip a day, but not so much time that you wind up fucking off completely.” This hardback edition does not fuck off at all, materially elevating Mayer’s “emotional science project” to something final, even if her messy mnemotechnics defy its glossiness (of the sort Mayer dismissed as “precious” in her 1982 defense of mimeo).

[artbookdap]

Forthcoming from @sigliopress 'Helen Cammock: I Will Keep My Soul' is featured @parisreview⁠ ⁠ Read an excerpt of writing by @jiamirkh⁠ ⁠ She concludes: "One of the words that the artist @cammockhelen uses to describe her practice is 'seepage'—a slow but steady escape or drainage of one thing into another, a cycle of movement backward and forward akin to the dances of a tide. Linking her process to the condition of water—as her work is forever expanding and leaking into and out of many material genres and modes—Cammock points to the animus at the heart of her project: movement, whether historical, political, geographical, or cultural. Finding and nurturing the sites of shift and movement—the places where they come into contact, pose gaps, interrupt, form connections, become liquid—remains Cammock’s most powerful methodological tool both inside the archives and in the materialization of her films and writing. Harnessing the power of water, the churn of history, and the spirit of memory that haunts them both, Cammock seeps and soaks into historical record, offering and opening space for the flow and traces of the past to link, return, and remember."⁠ ⁠ Read the full excerpt via linkibio.⁠ ⁠ #helencammock #iwillkeepmysoul #neworleans #siglio⁠ https://www.instagram.com/p/CoGAjZEJk-j/?igshid=NGJjMDIxMWI=

[las-microfisuras]

Robert Seydel, "Marcel Duchamp, Par-Fume” from Book of Ruth.

(Siglio, 2011) (courtesy Siglio and the Estate of Robert Seydel)

[mudwerks]

(via Nine Magnificent Photo Books to Add to Your Christmas Wishlist)

Seventh Sleeper, Françoise Jourdan-Gassin, 1979, from Sophie Calle, The Sleepers (Siglio, 2024)

[mon-nid]

Excerpt from the projection work “Shadow Theater” published in “Marcel Broodthaers: My Ogre Book, Shadow Theater, Midnight,” Siglio, 2016 (all images courtesy Siglio)

[thearistocratsblog]

Architecture Against Mortality (Arakawa & Gins)

Imagine a house that you could live forever in. What does it look like? Do its walls slope? Are they made of fish scales? Do they give off an incandescence that seems to change with the time of day, the year, the weather? Is its kitchen shaped like a fried egg? Is the living room a sun-drenched valley, or a stretch of desert dunes to climb over in coffee breaks? Do you sleep upside-down like a cocooned insect, so that every day, upon waking, you could stretch into the limbs of your new body and enter the world afresh?

For the late Madeline Gins and Shusaku Arakawa, two interdisciplinary artists and speculative architects active in the radical postwar art scene of New York, the age-old conundrum of human mortality had one solution: an embodied architecture. Rejecting the modernist idea of architecture as “a machine for living in”, they refuted the Cartesian split between mind and body. Gins and her life-work partner Arakawa sought to develop, in their own words, buildings that would serve as “interactive laboratories of everyday life.”

“We have decided not to die,” reads the catalogue of Gins and Arakawa’s 1997 Guggenheim exhibition, Arakawa + Gins: Reversible Destiny. The succinct declaration perfectly encapsulates their lifelong ambition, and is consequently picked up by much of the writing on their work. But long before they established the Reversible Destiny Foundation in 2010, or began to realize their architectural projects in the early aughts, Gins and Arakawa fleshed out these ideas in a body of collaborative works that spanned poetry, painting, film, drawing, and performance.

“Candy-coloured walls, sloping floors and a serious aversion to right angles would keep residents on their toes”

Their first shared project, The Mechanism of Meaning, was initiated in 1963: a year after the two met while studying at the Brooklyn Institute of Painting. An indication of the intensity and duration of the collaboration to follow, the resulting open-ended series of works spans two editions and three decades. It includes over 160 painted panels, charcoal drawings, and later, when the technology became available, computerized renderings. Using text, found objects and images, the works function as a kind of visual puzzle that questions the precise intersection of art, experience and thought, often picking apart meaning language through instruction and play.

As Arakawa continued to explore viewership and the body through painting, Gins used writing to uncover the relationship between reading and the body. For both artists, language was a tool to open up the worlds constructed on canvas and in words. Together they built a lexicon of paradoxes, where ambivalent words like cleave (the act of both cutting and joining) and blank (simultaneously suggesting absence and presence) brought viewers and readers into a state of suspension and unknowing; a state understood by Gins and Arakawa to be the gateway to immortality.

Word Rain, a profoundly atmospheric novel by Gins that plays with the multi-sensory experience of reading, can be found (among her other world-bending writing) in a new Gins reader, published by Siglio Press and edited by Lucy Ives. Reading it, I am reminded of a passage from Olga Tokarzuck’s Man Booker Prize-winning novel, Flights, first published in English in 2017: “…a thing in motion will always be better than a thing at rest… that which is static will degenerate and decay, turn to ash, while that which is in motion is able to last for all eternity.”

[lamilanomagazine]

Rapina pluriaggravata a Napoli, vittime due minori. Rintracciato e arrestato ad Isernia uno degli autori

Rapina pluriaggravata a Napoli, vittime due minori. Rintracciato e arrestato ad Isernia uno degli autori E’ stato rintracciato ad Isernia e tratto in arresto dai poliziotti della Squadra Mobile di Isernia e Napoli, un tunisino, R.M.R diciottenne, appartenente ad un gruppo di giovani, di cui 4 minorenni, che nella serata del 17 novembre scorso a Napoli, nei giardini del Molo Siglio, avevano rapinato due adolescenti bengalesi dei loro cellulari e di denaro contante, aggredendoli con calci e pugni per poi dileguarsi con la refurtiva. L’articolata attività di indagine della Squadra Mobile, coordinata dalle Procure della Repubblica presso il Tribunale di Napoli e presso il Tribunale per i Minori, ha portato all’individuazione dei rei, grazie anche ai riscontri delle immagini estrapolate dagli impianti di videosorveglianza presenti in zona e installati a bordo del tram dal quale erano scesi poco prima. All’esito delle indagini, sono state eseguite dalla Polizia di Stato, Ordinanze di Custodia Cautelare in Carcere emesse nei confronti di tutti i componenti del gruppo, di cui 4 minorenni, poiché ritenuti gravemente indiziati del delitto di rapina pluriaggravata.  ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[unofficialchronicle]

NEAR UDAIPUR, 2008, 15 1/8

essay that references this piece: https://www.theparisreview.org/blog/2012/04/03/an-egoless-practice-tantric-art/

[bureau-capri]

From Memory by Bernadette Mayer, Siglio, 2020. Courtesy Bernadette Mayer Papers, Special Collections & Archives, University of California, San Diego.

[nugothrhythms]

Music video to “Acto de Fe” by Mexican post-punk and darkwave band Prismatic Shapes off of their 2022 album Sigilos y Decretos

[thelonguepuree]

Bernadette Mayer’s Memory was never meant to be a book. In a 1978 lecture, Mayer describes trying to step “away from the printed book” with this project: for the month of July 1971, she kept a journal and exposed a roll of 35 mm film each day, later recording herself narrating the images (while viewing the slides by projector) and reprocessing her memories via each medium. When “Memory” was originally shown the next year at 98 Greene Street—snapshots developed from the slides had been arranged chronologically on one wall in a long, horizontal grid, while a six-hour audio recording of the final text played—nobody wanted to buy the work, she explained, “as there was nothing to sell.” Later, in a letter to the poet Nada Gordon, Mayer suggested there was at least one offer: an editor from Praeger proposed printing a full-color version in exchange for sex. “I told him I would love to make love to him”—she explains that he was “quite attractive”—“but only if he wouldnt [sic] publish my book, and then I’m afraid I asked him to leave.”

Diana Hamilton, “Bernadette Mayer’s Memory” in BOMB (x)

[artbookdap]

FRIDAY!! March 31 at 7 PM, @cara_the_org presents the launch of 'Helen Cammock: I Will Keep My Soul,' published by Rivers Institute for Contemporary Art & Thought, Siglio Press and the California African American Museum. The evening will include a reading and conversation between Turner Prize-winning artist Helen Cammock and writer, editor and art historian Re'al Christian. Due to limited seating, reservation is strongly encouraged. RSVP via linkinbio!⁠ ⁠ CARA: Center for Art, Research and Alliances⁠ I Will Keep My Soul: Helen Cammock in Conversation with Re'al Christian⁠ Friday, March 31 at 7 PM⁠ 225 West 13th Street⁠ ⁠ @cammockhelen @followriversinstitute @sigliopress @caaminla https://www.instagram.com/p/CqYXJCZuiZA/?igshid=NGJjMDIxMWI=

[magictransistor]

Anonymous. 17th Century Abstract Tantric Painting. Rajasthan, India.

[sequential-li]

I’ve got a review of Anouck Durand’s book Eternal Friendship over at The Comics Journal today. Check it out!

[k00286654]

Artist research

Sophie Calle

"Suite Vénitienne"

Calle met a man, Henri B., at a party. He said he was moving to Venice, so she moved to Venice and there, she began to follow him. Suite Vénitienne was the resulting book, first published in 1979 and re-released this month in collaboration with Siglio. Calle documents her attempts to follow her subject. She phoned hundreds of hotels, even visited the police station, to find out where he was staying, and persuaded a woman who lived opposite to let her photograph him from her window. Her photographs show the back of a raincoated man as he travels through the winding Venetian streets, a surreal and striking backdrop to her internalised mission. The very beauty of her surroundings has a filmic quality, intensifying the thriller-esque narrative of her project. Sometimes her means of following Henri B. are methodical – enlisting Venetian friends to make a phone call on her behalf – and sometimes arbitrary – following a delivery boy to see if he will lead her to him.

Alongside the photographs, Calle documents her surveillance, noting and evaluating her emotions as she trails the mystery figure, reminding herself that though she feels like she’s in love with him, it is his very elusivity to which she is drawn. She describes the wide gap between her own thoughts and his, which she cannot know. And there is one meeting between the artist and her subject – Henri B. confronts her after she has strayed too close.

I chose to research Calle as I was already greatly interested in her work and have her book. I love the the mystery and obscurity of her images and they are almost anxiety inducing as we watch from Calle's point of view as she avoids being caught by her subject. She turns mundane series of events into a mysterious journey and holds her viewers attention.

[mentaltimetraveller]

Detail from “Room 25” 

Sophie Calle, The Hotel (Siglio Press, 2021)