zkJE2YpF

1# Spirit Cooking
2Mix Fresh Milk From The Breast
3With Fresh Milk Of The Sperm
4Drink on Earthquake Nights
5On Your Knees, Clean The Floor
6With Your Breath
7Inhale The Dust
8Wash Your Bedsheets In Lemon Juice
9Cover The Pillow With Sage Leaves
10With A Sharp Knife
11Cut Deeply Into The
12Middle Finger Of The Left Hand
13Eat The Pain
14Facing The Wall
15Eat Nine Red Hot Peppers
16Take Uncut 13 Leaves of Green Cabbage
17With 13,000 Grammes Of Jealousy
18Steam For Long Time In Deep Iron Pot
19Till All Water Evaporates
20Eat It Just Before Attack
21Fresh Morning Urine
22Sprinkle Over Nightmare Dreams
23
24You can become an (almost) instant artist if you follow these instructions (you can also become an artist otherwise!).
25Let’s try one of the infinite ways to start.
26Wash your hands—it creates expectation. Take a white piece of paper, 1 by 1 meter. Find a good, sharp pencil— sharpen it if its point is dull. It’s always best to use good materials. With your pencil draw a grid—let’s say 9 little squares by 9 little squares, 81 squares in all, of equal size.
27Take 10 crayons (oil pastels) that you have chosen out of a box. Think of the rainbow, its colours, its freshness. Let’s have 10 colours, for example red, purple, orange, yellow, dark blue, light blue, brown, ochre, dark green, light green. Keep them in this order (or any order you wish). Fill the first upper-left side little square with red, evenly painted red, carefully painted. Then purple for the next square, then orange, then yellow, then dark blue, then light blue, then brown, then ochre, then dark green, then light green. You will be at the end of your top row. Go back and start on the next line at the left side with light green, which will fall under the red square. Then continue: red, purple, orange, yellow, and so on until you fill in the last little square on the right of your bottom line, which will be red. You will obtain thus regular patterns, rhythm, brilliance, a nice painting. You won’t need special skills for such a beautiful result. Try it. You may—but I hope not—be weary in the process …
28We’ll see.
29
30# CCTV Spray (2012)
31How to make a spray device to block a surveillance camera:
32Da you feel uncomfortable, confused, disgusted, or even irate because of a surveillance camera fixed at the wrang place? To block its view, spray-painting would be the best choice. lt is highly accessible, inexpensive, and effective. Moreover, it is a perfect gesture in presenting streel culture.
33It is difficult ta spray an a surveillance camera at a high place directly by hand. Inslead af carrying a ladder an the streets, it is more practical to make an ad1ustable, easy-ta-carry, and law-cost spray device.
34It is best to use materials easily found from daily life to create this tool Materials Needed:
35Choose materials that are as practical and reliable as possible. They should also be cheap and easy to obtain:
36Produclien Procedure:
37First find a long stick of suitable height. Considering portability, a collapsible tree pruner is recommended. Then select a stable frame that can secure a bottle or a can. For example, a bettle cage for bicycles would be a good fit. After that, find a trlgger and fix lt at the top of the stick. A wlne bettle opener is a good choice, because lts flexible Iever structure can reduce the force and dlstance needed to press the spray nozzle. We also need a linkage device to control the wine bettle opener at the top. A bicycle brake bar ls an excellent choice. Finally, prepare screws and nylon ropes as needed.
38Usage:
39First fix the wine bottle opener at the top of the tree pruner Then set the spray can lnto the bettle cage. Make sure the handle of the bottle opener ls affixed to the right posltion. where it gives easiest nozzle control. Use screws to secure the bettle cage fix the brake bar at the other end of the tree pruner. Secure the spray paint can and use a nylon rope to fasten the flexible shaft. Adjust the length of the stick. Then connect the handle of the bettle opener to the shaft of the brake. The homemade adjustable spray device is now complete. Revolve all the light pole lamps in a street facing up.
40
41Locate a television with a generous selection of satellite offerings.
42Utilize the fibonacci sequence of numbers to select channels in order.
430, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987 and so on.
44Alternatively use a fibonacci calculator.
45Take a photo with a digital device of each channel in passing.
46When you have exhausted your satellite channel options as prescribed by the golden ratio—collate the data in the reverse order you have collected it and compile into a mosaic.
47The resulting image is a simplistic representation of one edge of the multifaceted media matrix.
48Marvel the stunning mediocrity of our manmade wonder.
49
50# Revolt (2004)
51Revolve all the light pole lamps in a street facing up.
52
53THE TEST FOR HUMANITY
54READ IT ALOUD, SLOWLY, AND THEN TAKE A DEEP BREATH
55
56Make an artwork that resembles one you have seen in the world. Replicate the original as closely as possible, but add a few anomalous details. Study the signature of the artist who made the original. Master it. Fake it. Without getting caught, circulate the double in important exhibition venues where Its authenticity won't be questioned.
57
58Doodle.
59
60Photoshop CS: 11 by 8.5 inches, 300 DPI, RGB, square pixels, default gradient "Russell's Rainbow" (turn transparency off, mousedown y= 1100 x=550, mouseup y = 2100 x=1450.
61
62None of the above
63
64Reproduce in full scale any one or more of the four scenes shown here.
65The performance consists in recreating in front of an audience what is seen in the photograph.
66The duration of the performance is how long it takes to make the reproduction(s).
67Do not use the photo(s) in the reproduction.
68The reproduction can be left in place for any length of time.
69
70The four step method
71Make a clean surgical removal of the head from the body, leaving enough of the neck to tie around the supporting pole. Meanwhile, the body can then be cremated and the ashes placed in a custom designed urn.
72Suggested clients: a deceased relative, friend, lover or oneself.
73Step 1 The skin must be removed from the skull. To do this, place head in a pot of boiling water once the brains, eyes and other extraneous material have been carefully removed. The boiling will allow the fatty tissue to dissolve, allowing the skin to be removed from the skull. Be careful not to remove any hair from the head as this becomes one of the desirable features.
74Cool the head at room temperature and begin to carefully pull the skin away from the bone. If it still resists, boil further.
75Step 2 Have a pole and some coarse sand ready. (The pole size should be approx. 1/2 the diameter of the inside dimensions of the removed skin.) There should be some fatty tissue remaining on the skin at this stage.
76Insert the pole into the opening at the neck, invert and fill the sand around the pole, roughly forming the features of the face. Tie a string tightly around the neck area to contain the sand.
77Step 3 Place the pole in the ground so the head is at least 1 1/2 ft. above the ground. The purpose is to shrink the skin over the filling so this can be done directly by the sun during the hattest days of summer when the temperature reaches the high 80 through 100 F or so. If there is no s un available, a wood, gas or electric stove can be used that should be no hotter than 140 F and left on for several days. It still must be placed in an upright position on a short pole that is secured in the middle of the oven. (Observe every 8 hours.)
78Once the skin is tight around the sand support, untie the string and remove the sand and pole rom the exterior skin.
79Step 4 Boil away any fatty tissue remaining and obtain a slightly smaller pole and finer sand and repeat this process, using graduated smaller poles and finer sand until the head is the desired size. At the final stage, all of the fatty tissue is gone and the skin should have a tough leather-like surface that should last indefinitely.
80The size of a small-handed fist is acceptable, but the smaller the head, the more desirable.
81One suggestion is to fasten the head on top of the urn' s lid.
82
83Oh! to produce cadavers. To DEVISE the human dead. Without killing, without death. Without the DEVISING of the human dead according to that established causal, physical, temporal, universal jurisprudence. Without the violent interruption of breath or blood. Without service to the vicissitudes of representation at its bladed apogee. Against representation morphing into waxen subject. Against representation’s ERADICATIVE desires. The affective reality of such: to elicit the same response as if to a cadaver; to oscillate between those (im)material poles at the same terrific, super-positioning speed; to provide the ballast (TERRIFIC PRESENCE, stinking HEFT) as well as conjure the zephyrs (I remember you; I fucking pine for you).
84BECOMING forensic.
85Remember that there is no maximal diameter to a self-inflicted chest-cavity. Invite them in: invite the probing fingers, the fists, the snagging nails, the tender kisses, the lapping tongues.
86Graciousness—hospitality at all costs.
87Make them aware of your mouth. Every single metaphor should be your cuttlefish tongue.
88At night, dream of Pluto, the dejected ex-planet. A sphere of ice, four billion miles from your bedroom. We will convene there, every night, at either pole, on the ice rink.
89(Everything to be approached with a SUNNY and DARLING impunity!)
90Align with the knuckle-notched spine.
91Practice clairvoyance. As in, You are a medium.
92Address the eyeball, the ear, proper: cochlea, cornea, pupil, the incised canals, the labyrinth, the optic nerve, the nebular irises, the aqueous humour, the wet ducting, the wax grotesques, the shivering hairs, the arcane ciphers, etc.
93Address the gut improper: Forcing down the indigestible, the alien, the altogether inscrutable, the tasteless, the petrochemical, etc.
94CONFESS.
95DEPRESS with calloused, been-there thumb, these never-ending, wire-frame plateaus.—“Depression” wielded with a renewed verbal/nounal complexity in the FLAT face of those featureless (as in, non-dramatic) FLATNESSES. As in, “flattened” being an affective symptom of depression/“depression” being a feature to affectively repeal flatness. A depressed/flattened ontology.
96Everything to be understood according to the morphology of gastropods.
97(“Etc.” to be employed as a surrogate for everything. Or rather, “etc.” to be employed as a failure—as a limit beyond which your fat listlessness will not extend, thank god.)
98SIGILISE.
99Come to bed and fucking die; add light to some small pink star.
100
101— Send an invited writer 1000 anonymous sounds selected from my library.*
102— Ask her/him to name these sounds according to relations she/he establishes between her/his writing and the sounds.
103— I will then perform, using the renamed library, on a new version of the Metastable Circuit**—the instrument I started developing at dOCUMENTA13—and have the instrument record the names of the played files following their order of appearance in the performance.
104— This will generate a text from the relation between the performance and the form of the body/sound/instrument.
105— The text and the performance will be revisited with the writer to see how these elements echo each other and how they could coexist together.
106— Repeat the experience with different writers and the same sound library.
107* Sounds to be sent via an online link from the artist.
108** The Metastable Circuit is an instrument that constantly generates narratives and collages from thousands of sounds that Atoui recuperated, collected, and recorded since he started sound and music. Whenever it is played, this instrument changes sounds and function, putting the artist in situations of listening, learning, and improvising simultaneously.
109
110LIVE
111
112Glue a [rectangular] table to the sky [table top up, somewhere not too close to the sky’s zenith]
113
114Following Gertrude Stein, every now and then sit with your back on nature.
115
116# How To Kill A Bug
117Equipment
1182 wooden planks, 1” x 4” x 18”, labeled A and B.
1191. Place bug on end of wooden plank A.
1202. Strike area where bug is located on plank A with plank B.
1213. Remove remains of bug from both planks and repeat with successive bugs as necessary.
122
123# Events to be organized
124PHASE 8: CUTAWAYS
1251. Marti walks forward camera from top curve of phase 8 formation carrying two helium-filled miniature blimps
1262. On cue, ripple begins by pulling skirts straight up over head creating an inverted funnel shape. As the dancers lift their skirts, they simultaneously spread their legs—creating a tunnel of legs.
1273. Camera dollies through the tunnel of legs.
128PHASE 9
129Front row of dancers (arms up) steps back and forth laterally (step—touch—step—touch—etc.)
130Camera dolly right down row of dancers
131— back row of dancers comes through gaps in front row
132— back row is staggered so that as camera moves right their move through the gap and to the left is in the frame of the camera
133
134# Instructions for a Diversion That Leads to the Creation of a New Government
135In the third chapter of Gulliver’s Travels, Jonathan Swift describes how candidates for government posts in Lilliput are required by the Emperor to perform acrobatic figures on a tightrope to demonstrate their merit for office. Here are instructions for staging an acrobatic spectacle to appoint public officials of your own region or country.
136Publish posters announcing that key government posts are being opened to interested candidates, based on their performance in a series of physical challenges.
137Prepare a list of positions to be filled in areas such as Treasury, Industry, Agriculture, Commerce, Housing, External and Women’s Affairs, Culture or Education, etc.
138Assign an acrobatic feat to each open post. For example, candidates for the Ministry of Housing will each climb to the top of a human pyramid. (This stunt refers to the folkloric tradition of Moroccan acrobat-warriors who used pyramids to peer over the enemy’s fortress walls.)
139Stage a space for this diversion in a city square. Tangier’s Grand Socco, with its large central fountain and plaza of palm trees, with a traditional gate to the North and the city’s cinema at the South, is an ideal model.
140Erect a flying trapeze so aerial stunts take place above the fountain.
141Stretch a tightrope across the square from the highest rooftop to a tall tree. The tightrope act will be the most entertaining finale, where candidates show balance and skill without falling to injury on either side.
142
143Do something unique that only you and no one else in the world can do.
144Don’t call it art.
145
146# Adventures in the Plexiglas Wardrobe
147Between 1966 and 1968 (the year the volume that was to become the book published by Feltrinelli came out), I started an action that I later called Avventure nell’armadio di plexiglass (“Adventures in the Plexiglas Wardrobe”). I archived a series of dreams transcribed as soon as I woke up. I then built a story made of these dreams, within which I brought together all the female characters represented by a single name: Lucy. Only at the end does another woman, named Molly, appear. The system I used also became an idea for an exercise to do alone: the possibility for everyone to build his or her own Plexiglas wardrobe by following some simple suggestions on the book’s back cover.
148You already know Plexiglas. It is a widely used acrylic resin with tough, sensitive surfaces. It can be cut, glued, and folded. Although it is transparent, by juxtaposing levels and corners, modest optical distortion effects can be created. With this material, build yourself a wardrobe measuring about 1.60 x 2.50 x 0.3 meters. The wardrobe will contain many drawers-miniscule (4 x 5 x 26 cm), anonymous, and complete with knob. Place the wardrobe beside the bed. Then let the drawers fill, for at least 40 years, with notes, photographs, badges, pills, telephone numbers, airplane tickets, press clippings, buttons, letters, foreign coins, pocket diaries, membership cards, keys, 9-mm bullets, a vial of heroin, Easter egg surprises, and so on. At this point, start to remove an assortment of these objects every evening; consider them carefully, then put them in a box on your night table or beneath your pillow. As soon as you wake in the morning, immediately draw up a brief report on what’s going through your mind. If you prefer, use the language of the trade representative or police officer. If you encounter difficulties, go back to bed and take an extra nap for a few minutes. Then, on the material obtained in this way, act according to your mood: obliterate a part of your report, neglect its possible structures, the random story lines. In short, do your best for the pages resulting from at least two years of this “activity” and end up building something quite similar to a book taking shape on its own. You will have written your WORK by transferring to literature certain techniques adopted elsewhere, in the happenings. The thing may be called a success only if, in the years to follow, you can reread the work (which has been written following a mockery not much different from what is described above) with constant enjoyment.
149
150# Shirtology
151Shut up and Dance
152
153# Things you can do to change
154THINGS YOU CAN DO TO CHANGE
155To make yourself taller, two or two and a half inches can be quickly added to your height by tearing or folding a newspaper to form a ramp in the heels of your shoes. If you are wearing high top shoes, even more can be added. Be certain that you relace them tightly and tie a double knot. Such ramps have an added advantage in that they also change your walk and posture. Hoist your trousers up and tighten the belt. This will make your legs look longer.
156Try the old trick of buttoning your pants to your vest to acquire a stoop. Basically, posture and gait must fit the type of man you are portraying, his age, upbringing, physical condition, degree of ambition, and his whole outlook on life. One section of the crowd will move with a purpose, preoccupied with their own important little lives. Another group will slouch or waddle along, like dully curious animals. Any little object catches their interest for a fleeting moment. They have no goal in life and every movement and line of their body show it. Be sure your face has that drooped, dull, set expression of one who has had a stroke.
157The eyes are usually all that move, with a bewildered, anxious expression as though the person does not quite know what has happened to him. A small stone or other hard object (a detachable pencil eraser, for example) in one sock heel will produce a convincing limp. Slightly larger ones in the arch of each foot will produce a “flat foot” walk. The last-mentioned device also aids in maintaining an “old age” gait.
158MORE QUICK CHANGES
159A good swarthy skin color can be had by wetting your hands and rubbing them on an old piece of rusty iron. The fume-vent of a water heater is usually a good place to find it. A mechanic’s face can be effected by rubbing in black grease from an engine or hubcap, or even plain soot in a drop or two of oil, and then rubbing some of it off. Shoeblack rubbed very thin on the face gives a gray, unhealthy, almost dead look to the skin.
160If you have a pair of glasses and were not wearing them before, put them on.
161
162# My Space
163Setting: The location is an interior space bisected by a wall that contains an opening.
164The wall in question should have been erected roughly in the middle of the space, effectively creating two rooms of approximately equal size*.
165The function of the opening is to effect movement between the two spaces, and hence is most frequently called a doorway.
166Action: The aim is to circumvent the limitation of movement that the wall and its opening proposes. A number of bodies/players, determined by the scale of the doorway, will choreograph the traversal, simultaneously and in unison, from one end of the space, where a video-capturing devise is placed, facing the opening, to the other, where another filming device is placed, also facing the doorway**.
167All physical and architectural difficulties encountered by the group should be read allegorically, and managed with a spirit of cooperation.
168Notes to the Players: A wall might be constructed to create a division in a given space in order to enable a distinction between activities. This could give rise to the elaboration of different performances, just as a doorway can suggest potential, for instance, the execution of a decided trajectory, yet this potential is most often employed by one body at a time. When these openings are housed in notably social environs, or are encountered by more than one body concurrently, extrapolative behaviours, whether enacted notions of cultural propriety or a refusal thereof, are often enlisted by the bodies.
169Here the wall and its opening should be regarded as an obstruction. The players will test these limits by ascertaining what possibilities the opening might allow as a supersocial undertaking. The scale of the doorway—its width—should first be measured by determining, from a selected “pool of bodies,” the maximum number of players that can fit simultaneously into the opening while standing sideways with arms raised. They should disregard any aforementioned social prescriptions or negations. Instead, the physical nature of this Action should be thought to enable the embodiment of the allegorical nature of the problem.
170By enlisting a steady rhythm, assisted by chanting the Instruction’s title*** and clapping in concert, the players may be able to perform the Action without the need for extraneous communication. This movement and its rhythm, both percussive and locutionary, should allude to dancing rather than a march of some kind. The players should think of other social parallels, like the coming together of two or more independent bodies at a disco or in the Tango, overlooking, however, the conventions of gender in the latter. A video made of just such an action can be found at http://www.youtube. com/watch?v=iDnmMhpYVqY&feature=results_main&playnext=1&lis t=PL123621C62C9D92EA. It might provide the players of this instruction with a language more easily than that found here, and may assist them in executing these instructions.
171* This provision can be dismissed if the two rooms can support the other stipulated prescriptions of the Instruction outlines.
172** A video, documenting the Action, will be made by “splicing” the two videoed views together at the precise moment of the players’ negotiation of the opening. This video will be later uploaded to YouTube, where it will be named with the Instruction’s composer and the title of the Instruction. The extra notes made available by YouTube’s architecture should detail the names of all the players, and the date and location where the Action has occurred.
173*** The title might seem paradoxical, considering the suprasubjective nature of the utterance in relation to the Action, but this complication should signify difficulties characteristic of the often complex processes in translating singular subjectivities into grander schemes, and vice versa.
174
175# Instruction
176AMERIKA SAYS: DON’T
177YIPPIES SAY: DO IT!
178A SOCIETY WHICH SUPPRESSES ADVENTURE MAKES THE ONLY ADVENTURE IN SUPPRESSION OF THAT SOCIETY. DO iT!
179SAMPLE. LOOP. REPEAT.
180I. BE A CHILD OF AMERIKA
181..... order as your last meal: a hamburger, french fries and a Coke.
182..... dig big cities.
183..... read the sports pages and gossip columns.
184..... listen to the radio and watch color T.V.
185..... dig department stores, huge supermarkets and airports.
186..... groove on Hollywood movies -- even bad ones.
187..... speak only one language -- English.
188..... love rock ’n’ roll.
189SAMPLE. LOOP. REPEAT.
190II. BE A YIPPIE! YIPPIE!
191..... dig being free.
192..... like getting high.
193..... don’t own a suit or tie.
194..... live for the revolution.
195..... cry when you laugh and laugh when you cry.
196..... watch color television at least two hours a day, especially the news.
197..... make your dreams public.
198..... take acid with breakfast to bring you closer to reality.
199
200# Territorial Reserve #4
201FOR THE DURATION OF AN EXHIBITION A BOUNDARIED, UNMARKED, PRE-ALLOCATED SPACE OF 46,656 CUBIC INCHES IS TO REMAIN UNOCCUPIED.
202
203# Cloth Members
204RaumMuseum
205Künstler weg, weit weg
206MolkMeMind klopft
207ChocolateCloth Members are transforming sculpture
208Art is elasticity material
209Transforming is vanilla creme
210Textile is flowing
211Cloth Members are sewing their favorite homeartistmind in shirts
212Marcipan sewing construct softly
213kill me softly
214EinerMeinerSelbstMeBeBean for Cloth Members
215Artist pieces sickern in die CakeHirnwindungen
216Blickgedanke
217Mindshape in MainBrain
218Flowing deep Inside, Input
219Output Outside Acting in WorldMexico
220The end is the beginning is the ending
221At home the House Members say “Nice Shirt”.
222HomeMuseum
223
224# Les Écoliers (The Schoolchildren)
225Ask the photographer who usually takes the end-of-term photos at the school nearest to the exhibition venue to take individual portraits of all the pupils in one of the classes. These photos, varying in number, are to be enlarged to an 8 by 10 inch format and glued onto a sheet of cardboard.
226Arrange the photos on the wall in several rows, leaving a 3 inch gap between each photograph. On the back of each photo, stamp the name of the photographer who took the photo, as well as my own name (the wall label should feature both my name and the photographer’s name).
227At the end of the exhibition, give the photos to the children portrayed or to their parents.
228
229# Instruction
230[1] GET YOUR NEIGHBOR’S PHOTO ALBUM [2] GIVE THE NEIGHBOR YOURS IN EXCHANGE [3] ENLARGE ALL THE PICTURES TO 8 x 10 [4] FRAME THEM SOME SIMPLE FASHION AND HANG THEM ON THE WALLS OF YOUR APARTMENT [5] YOUR NEIGHBOR SHOULD DO THE SAME WITH YOUR ALBUM
231
232# Cold Storage Room
233Keep the temperature of a room at -18°C
234
235# Instruction
236When you are walking, stop and smile at a stranger.
237
238“Around the studio area I am summoned by two essential characters: the Dot and the Line. These characters are always active: they impose their spatial adventure, either alone or together, in collaboration or conflict; sometimes one of them emerges in such a way that it makes us wait and presume the presence of the other. The studio is the arena or the set for these acrobatic exercises. The studio changes color just as a certain species of fish does during its mating ritual.
239The large studio window frames the grand tree top from the neighboring courtyard. Thus I keep close to myself the image of the seasons: from the wooden rigidity of its limbs, to the fresh green of sprouting, to the overwhelming and intense green of its summer top, and, finally, to its rusty red.
240This is my studio. Sometimes I dream that it expands and becomes a space where I might create an immense entanglement of lines onto and through which I then trace circular shapes of different sizes and colors; then, by following these graphic traces in movement, the entire construction could become musical.”
241
242# Projects for poems
2431. An A painted on a billiard ball.
2442. Recite poems with a pair of glasses inside one’s mouth.
2453. With a stamp stuck to one’s lips put head in a sack and count to 100.
2464. Make Chinese shadows with a letter painted on each hand.
2475. Put on a yellow bracelet and smoke a cigarette, put on a red bracelet and drink a glass of water.
2486. Draw an open umbrella and entitle it Dartboard, draw an arrow stuck into a dartboard and entitle it Umbrella.
2497. Write a poem using toothpicks to form the letters.
2508. Tear out a page of a poem book and burn it gathering the sun’s rays on it with a magnifying glass.
2519. Start the film projection with day’s light in a way that the projection will go on through dusk until the night falls.
25210. Lean out of a balcony, cut out one by one the letters of a sonnet.
25311. Start reading a long poem out loud knowing beforehand that a partner, in the other room, will cut out the electricity at any moment.
25412. Launch a rocket, draw an eye on one’s belly button and destroy a cage.
255
256# From fac-simile to site work
257Dear Friends, Thanks for your fax and plans.
258I have several problems with the measurements. When you take the full size of wall A=9700 and when you compare to wall C + D + F, we should normally find a Ionger distance (G which is in addition compare to A), but at the contrario I found less meters?
259C = 4975, + F = 1730, + D (approximatively according to the plan) = 1710, Total 8415. So, 1285 of difference in less, when in fact, still according to the plan, the wall is bigger than wall A!!! So something is wrong somewhere …
260But, in order to do not waste anymore time, I will give you the instructions according to the principle and not to the accurate position of each detail, been unable to do so, correctly. So, you will have to adjust the principles and following indications to the real site. Of course we can connect each other by FAX in case of more explanations or of any doubt.
261So, from the point of departure called 0 (see diagram 1), you will divide in 5 parts (all equals), the full lineage of the walls been the perimeter of the gallery. This will include doors, office, desk's wall, etc. In other words the total footage will include from 0 back to 0, wall A, door between A & B, wall B, wall C, wall Cl, wall D, wall E (including door), wall F, wall H (including H1 + G + H2). The total of all of these must be divided by 5. Then each 1/5 is covered with paint from floor to ceiling: Blue, Yellow, Red, Green & Black (vivid color type primary selection), they must be displayed following Japanese alphabetical order from point 0 direction A to H2, back to 0.
262 About measurement again it seems that all the different plan of the walls and the floor are not based on the same scale. In fact, it is impossible to supperpose one to the other as they are. Plans A, B & C put on top of floor plan are not connecting form one to the other '? Anyhow, when first part is done the second one is as follow: we should produce a serie of pieces as following.
263Each piece is made of: a panel of inert wood type agglomerate wood on wich are glued a serie of stripes.
264The panel must be the exact size of 5 stripes pre-cut of 8,7cm each. Normally this multiplication give to us 43,5cm. In fact, we know by experience that if we glue one after one the most accurate pre-cut stripes of 8,7cm each the result will be automatically a little more than what we do expect. So, to be sure of no surprise, before cutting the support/panel to its size, please adjust one to each other 5 alternative stripes of 8,7cm each of mirror and white material (see below the details of the stripes) and measure then the exact size of such an addition. It will be slightly bigger than 43,5cm. Then, whatsoever the size you do find please cut a square panel of that size. That will give you by the same way, the length of each stripes (we know already the width : 8,7cm).
265The stripes themselves must bc of 3 pieces of wood ore plastic paint or coloured white and 2 stripes of mirror. Depending and according to the width of the mirror used (usually of 3m/m) the wood or plastic white stripes must be of the same width. Then, on each panel they must be glued as close as possible next to each other alternatively White, Mirror, White, Mirror, White. On the back of the panel a system must be fixed in order to fix the panel to the wall and that as close as possible to that wall. Any system is good as lang as it is not visible and as lang as the panel is close and flat against the wall. (sec diagramm 2).
26655 panels identicals must be done.
267When they are done they must be installed in order to full fill the entire hight of the wall by serie of 5 (as said on diagramm 3). Then, they must run around the entire room starting next to the door on H2. Then the entire perimeter must be divided in 11 parts of equal distance (same principle of calculation than the one explain on diagramm 3). Then the pieces (5 pieces on top of each other dividing the hight of the wall in 5 parts) will run all around the gallery whatsoever the obstacle. In fact if for example one element is blocked by the beam, the element must be removed the possible elements remaining at their place. If the desk of the office or any other obstacle prevent the positiOn of one or more element, the element must be remove (see diagramm 4). If now an obstacle prevent the 5 elements to be installed the full sequence must be remove but the rythm and the distance of the next one must be respected as weil as if the removed/impossible piece to situate (5 elements) were really installed (see diagramm 5). Finally, if starting from the corner of the door on wall H2 make all the pieces in a difficult position (each time they have to be installed on a place where an obstacle is braking one or 2 or more or all the elements) you can take the liberty to start from some place eise where it will be a little more easier for more pieces to be intact and in full. The only rull is to keep the full perimeter divided by 11 elements of 43,5cm(+).
268Of course, these elements can be half and half or partly on top of 2 colors on the walls. This is O.K. Normally each of thewse element is going to take some color picked from the room and I do hope that all these elements will have changing color aspects according from the movement and displacement of the viewer. Please let me know how it is working?
269I never did such a thing and I am more than anxious to know the result.
270I wish to you all the best understanding and as little trouble as possible. (The ceiling is not painted of course).
271Take care.
272Take beautiful photos as usual (by the way the one from the piece from Gemini are excellent) and send me as soon as you can your remarks, criticism, enthousiasm or discouregment!!!!!! (I do hope not to hear of the last one!)
273
274Draw all the curtains on the planet at the same time.
275All of them, but slowly … or forget about all scenes.
276
277# Untitled
278Burn this book. ASAP.
279
280# Shoot It
2811 Shoot yourself with the video camera
2822 Present yourself as the addressing president or leader of any countries in front of the video camera.
2833 Content as an inaugural address. You can express your concepts of governing and views of international situation.
2844 Any details of the content are possible.
2855 Any kinds of acting are possible.
2866 Any actual identities of the addressers are possible.
2877 Any nationalities of the addressers are possible.
2888 Any beliefs of the addressers are possible.
2899 Addressers can be at any age.
29010 Any dressings of the addressers are possible.
29111 Shooting angles, styles and the scenes should mimic the addressing scenes in TV, mainly with fixed cameras, close shots or close-ups of face and half-length. When the addressers are speaking, it’s optional to refer to the sketch and to set the reporting microphone or desk.
29212 The timing of address is 5 minutes.
29313 The video can be edited.
294
295# Delicious poison
296A good stove, an excellent copper pan, and a tireless, vivacious tablespoon help in the preparation. Make sure, the evening before, that you have a good stove and plenty of fuel (firewood, coal, gas). Carefully clean the pan up, polish it once and again. Remove any possible mold by repeatedly rubbing it with a lemon and salt. Finally, rinse abundantly.
297Just milked milk will be best. (The milk’s quality is important. It will be better if not pasteurized nor cooked.) The night before eat well, and set your mood for the task.
298Get to the kitchen after the day’s work. Arrange things to your comfort: a seat, a pot with aromatic water, a little snack, some music (if needed) etc. Put the pan on to heat.
299Add some water and simmer. Rinse the pan in the boiling water. Throw the water out. Repeat this cleaning process twice more. Pour the milk into the pan.
300In a cup with milk, dissolve half a teaspoon of bicarbonate of soda for every four bottles of milk. (You may not believe it, but this little bit of technology quite improves the texture of the final product.) Cinnamon can be added if wanted (big sticks preferable). When the milk starts boiling add brown sugar, one pound for every two bottles of milk. For the sake of efficiency, it is important to fill the pan exactly, not too much nor too little.
301Initially, it will be enough to stir occasionally with the tablespoon. The heat must be kept medium to low, and the boiling soft and even. The mix gradually thickens and so the stirring pace must accelerate. It is important to always stir in the same direction.
302You may start tasting the “punto” of the brew shortly afterwards. The “punto” is a difficult issue, something that you will master one day.
303To taste the “punto,” take some mix from the pan and pour it over a small plate; when the brew approaches the “punto” its consistency will become pasty.
304When you think it has reached the “punto,” remove the pan from the heat. The best consistencies are slightly liquid to very firm, and you will learn from experience.
305Once away from the heat, use the tablespoon to cool the mix off a little bit. Pour it into previously disposed food containers. They should be very clean, very dry and heat resistant.
306Try to tidy the kitchen up a little bit. Take care of your hands, beware not to wash them with cold water.
307Go to bed … and have sweet dreams.
308
309# Instruction
310The curator or organizer of the exhibition must wear only his/her underwear and shoes at the opening of the show
311
312Quantity Item–Description
3131 Room 20´x 25´ with Hardwood Floor
3142 Pillows
3153 Duvet—white
3164 King-size sheets—patterned
3175 Bath Towels—colored
3186 Blue Jeans—3 faded and 3 new
3197 Shoes
3209 Princess slips various pinks
32110 Hawaiian shirts
32211 Wash cloths—various colors
32312 Tee shirts various dark colors
32413 Women’s panties
32514 Striped dish towels
32615 Pair of argyle socks
32716 Feet of speckled rope ¼” dia
32817 Small lace doilies
329NOTES All parts are to be arranged by hand or foot, etc.—until satisfied. No pins, staples, glue or any bonding agents allowed. Can be pushed or moved with a stick or broom, etc. Overhead 35 mm film camera takes 1 picture every 10 seconds 360 exposure load.
330
331# Instruction
332When you meet someone new tell them the following:
333“Our modern age is characterized by a sadness which calls for a new kind of prophet.
334Not the prophets of old who reminded people that they were going to die, but someone who will remind them that they are not dead yet.”
335Do not be embarrassed.
336Do not be afraid.
337
338I loved do it so much that I’m not in the right place to produce a contribution. I feel that do it is a moment to let things happen to me, when I have no order to give, no instruction, nothing. I therefore suggest what I dream one would suggest to me, me the visitor, the reader: a poem by Christophe Tarkos that vaguely resembles a dance lesson. I receive this do it. And forward it to you.
339Height
340You look at yourself, you turn back, you can’t see yourself anymore, you lower your head, you throw your arm on your back, you reach back, you stretch, you are very long, your arm gets longer, your arm measures 2 kilometers, it drags on the floor, you lift your head up, chin up, the top of your head higher, even higher, the very top of your head loses its shape, it lengthens and comes out of your head, it is light, pushes against the top of your skull, lifts up, grows taller, then softens and falls flat on your head, slightly toward the back, head high, take a deep breath, free your hand, release your upper back by dropping your hips, thinking of lifting your hips back up, rotate your back, twice, thrice, knot your joints, untie your ligaments, your feet flat on the ground, pivot fully around your axis, bring your legs together, open your chest, bring out your heart, grab the back of your neck firmly, stretch it by several centimeters, follow the displacement of your upper back downwards while thinking of its upwards displacement, lower your knees as much as possible, your feet are skipping, skip, skip, go, come back, stretch your neck, bring it behind your chest, rotate your hips, bring your back down further, backwards, move your hips further, stretch them out, they are heavy, they spill onto the floor, they are huge, they are elastic, they open up, open your stomach, open your belly button, open your butt cheeks, open your mouth, put your hips back in your chest, open your chest, fill your lungs with the rest of your hips, open, stretch your hips, spread them inside your lungs, breathe into the enlarged space of your twisted neck, twisted once, twisted twice, dislocate your elbow, untangle your fingers, leave your fingers, let them go, fingers go in all directions, let your back rest on the floor, arch your back, your back arches, your back rests on the floor, arches, your extremities still touch the floor, your stomach goes through your lungs, the top of your skull, soft, dips into your neck, into your lungs, on your tongue, your fingers run along the holes, your hands slide through and out the other way and shake, shake your fingers, fingers are free, shake them, lift your neck, head upright, feet up, open your eyes wide, skip, open your stomach wide, open your belly button, open your butt cheeks, the air goes through, go around your chest with a dislocated elbow, turn around, let go, get away, free your fingers, take hold of your neck, stretch it, don’t be afraid of grabbing it tight, grab it with your elbows, stretch, it must be as long as the arm, you’ll reach it by lowering your head, head up straight, lower your butt, open your eyes wide, lower your neck, pull on your back, open your ass, turn your neck once, twice, thrice, go around your neck with your elbow a second time, go around your elbow with your neck a second time, unfold your feet, let your toes go, bring your knees into the holes, your toes roll up and grab onto any- and everything, twist your ankles, get into your chest, your legs behind your neck, your neck behind your chest, your chest in your hips, let the air go through your pores, the air circulates, head high, your head in between your legs, twist your jaws, your jaws no longer chew, your jaws no longer exist, slowly bring back your arm to your mouth, slowly bring it into your mouth, don’t stop, the arm is 2 kilometers long, it’s long enough, poke, once through the mouth, poke into your stomach, once through it bring it back to your open mouth, and shove it back again, your arm is long enough, poke once more, all the way to the bottom, go deeper, to the bottom, don’t let go of your hand, force it in a second time and continue until the whole length of the arm is in, don’t be afraid to hurt yourself, your neck is against your mouth, your tongue goes in, your tongue is swallowed easily, your arm is swallowed, your feet are folded tightly, your knees are in, your legs are coming in, your elbows are out, your elbows are getting stuck, your ears hold on to the elbows, your back rests against the floor, your elbows press on your back, your elbows hold your back, press your back, the weight of it in its height, head up, lift up, elbows lift your back, think about the height of your back, think it’s possible to reach that height, elbows against your back, while pressing, think you’re reaching the height
341
342# Untitled (Q+A)
343Question: Does the notion “do it” indicate a proposal where no one can make mistakes?
344Answer: You will only know after doing it.
345
346# How to play a record backwards …
347HOW TO PLAY A RECORD BACKWARDS BY PLAYING IT UPSIDE DOWN
348You will need a nice turntable, a spool of thread, and a pencil.
349The spool of thread should have a hole through its center. Put it on the spindle of the turntable. Put the pencil through the hole of the spool of thread, over the turntable’s spindle. Place the record so that it is held aloft by the spool of thread and centered by the pencil. Invert the headshell and cartridge of the turntable such that the needle is facing upwards. Reduce the weight of the turntable arm so that the needle pressure is upwards (i.e. the needle is negatively weighted). Place the needle on the underside of the record, on the side close to the center of the record. It will play in an outward spiral.
350
351# Instructions
352Without losing heart
353Go every night to Lethe’s wharf
354(See the address in Hamlet)
355To await the Dreams’ arrival
356Since no one knows when he will come,
357And in what state, after death,
358If he will be alive, sick, in top form,
359In a white suit,
360The Dreams come to berth with the ponderous slowness of returning ships
361Some arrive from the Odyssey, in bad shape
362They have been seized by J. M. W. Turner’s brush
363Some are heavy with gold stolen
364From Mexico. They follow Cortes like a herd of oxen.
365Without losing heart, lie down on the Lethe quay.
366At the back of the stage rig up a golden web woven by the spider of Dreams.
367Wait until the Dream comes to be caught in the golden threads.
368He will come
369
370Whatever you do, do something else.
371
372# Caminhando (Walking)
373Caminhando (Walking) is the name I call my latest proposition. From this moment, I will give absolute importance to the immanently inscribed act. Caminhando supplies all the possibilities of action itself: it allows for choice, for the unpredictable, for the transformation of the virtual into the concrete.
374Make yourself a Caminhando with the white paper dust jacket of a book. Cut it open, twist it, and glue the ends together to produce a Möbius strip. Then take a pair of scissors and cut along the entire length of the loop. Take special care not to cross any previous cut as you go—you do not want the band to separate into two pieces. Once you have completed your circuit of the Möbius strip, it’s up to you to decide whether to end with a cut to the left or to the right. This choice is crucial; therein lies the experience. The work is the act itself. The extent that you cut the strip determines the amount that it splits and becomes entwined. Finally, the strip becomes so narrow that it cannot be opened further: it’s the end of the trail. (I use a Möbius strip for this experiment because it breaks with our spatial habits: right/left; front/back, etc. It forces us to experience a limitless time and a continuous space.)
375Each Caminhando is an immanent reality that reveals itself in its totality through the expression of the spectator-author.
376At the outset, the Caminhando is merely a potentiality. You and it form a unique, total, existential reality. There is no separation between subject and object; they have fused in an embrace. The responses, diverse as they are, are born of your choices.
377After the dualistic relation between man and Bicho, which characterized my earlier experiences, came this new fusion: in the act of making the work, you and it become indissociable. It is a singular experience. The act produces the Caminhando. There is nothing before it and nothing after it.
378Each time I begin a new phase of my work, I feel all the symptoms of pregnancy. Once gestation begins, I have physical symptoms, such as dizziness, until I bring my new space-time into the world. This continues until I get to the point of identifying, recognizing the new expression of my work in my daily life. The Caminhando, for example, only took on meaning for me when I was crossing the countryside by train. I felt each fragment of the landscape as a temporal totality, a totality in the process of forming, of producing itself before my eyes, in the immanence of the moment. The moment was the decisive thing.
379Another time, while watching the smoke from my cigarette, I felt as though time itself were ceaselessly forging its path, annihilating itself, remaking itself continuously … I had previously experienced that in love and in my gestures. Each time the expression “trailing” wells up in conversation, it gives rise to an actual space and integrates me into the world. I feel saved.
380I also find that my architectural attempts, born at the same time as the Caminhando, seek union with the world. At issue is the creation of a new, concrete spacetime, not only for myself but also for others.
381In making these architectures, I felt a great fatigue, as though I had worked on them my entire life. This fatigue came from the absorption of a new experience. Sometimes this feels like a desire to be a wet stone, in the shade of a tree, outside time.
382
383# Do It
384Ask yourself a question, any question. In four words or less, but not more.
385NOW
386breathe in
387breathe out
388breathe in
389breathe out
390breathe in
391breathe out
392breathe in
393breathe out
394breathe in
395breathe out
396breathe in
397breathe out
398breathe in
399breathe out
400breathe in
401breathe out
402breathe in
403breathe out
404breathe in
405breathe out
406breathe in
407breathe out
408breathe in
409breathe out
410breathe in
411breathe out
412breathe in
413breathe out
414breathe in
415breathe out
416breathe in
417breathe out
418breathe in
419breathe out
420NOW
421Go back to your question or turn the page.
422
423Instructions
4241) Go to an instant print shop run by a multinational company such as Kinko’s.
4252) Log onto the internet.
4263) Open a blog page account on a blogging site such as bloggers. com. It’s free.
4274) Give your blog home page a name composed of two relatively unusual nouns such as ducklingspaghetti. There is a reason for this which will come shortly.
4285) On another on-screen window go to Amazon.com.
4296) Select a book that you’ve read many times in your life.
4307) Chances are that Amazon has many pages from that book excerpted. Select one page.
4318) Go back to your blog page.
4329) Transcribe into it the page you selected from amazon.
43310) Post that blog page on the internet.
43411) Now go to Google.de or Google.fr or Google.nl or for any Google for a language you don’t speak.
43512) On this foreign Google site, search for your blog entry using the name of your blog page. The unusual nouns selected for your page will make it easy for Google to find it.
43613) Once your blog page appears, click Google’s translation button. Your page will be translated within a second or two.
43714) Print out this page on 8.5 x 11 paper or A4 or whatever is the standardized letter paper dimension for the country you’re in.
43815) Return to your blog account.
43916) In a new blog entry, paste into it the freshly translated page.
44017) Using Google from another country, repeat the above procedure, translating your page from, say, Dutch to French.
44118) Print out this next translation but do it on a differently colored page of letter paper.
44219) Continue this process repeatedly, always from one language into another, printing onto a differently colored sheet of paper, until you have used up all colors of paper available at your specific Kinko’s.
44320) The final sheet of paper should be in your mother tongue.
44421) For final presentation, paste the sheets like a checkerboard onto a wall, in sequence. The proportions of the pasting should be a vertical rectangle as close to 8.5 x 11 or A4 as possible.
445
446Evaluate current trends
447Devise the most horrific tale possible
448Write it in three weeks
449
450# Three How To Projects for Art Production in Domestic Spaces
4511) Entropic Sculpture (for wood or tile floors): Do not sweep the floor for a week. At the end of this period, sweep all the accumulated dust into one large pile. Over the week(s) that follows, watch the orderly centralized pile disintegrate into a chaotic decentralized field.
4522) dada Remmote Control(s): Collect all the remote controls for electronic devices that are in the home. Remove all the images, words, and numbers on the remote that designate command functions. To add a performative dimension, ask someone who is unfamiliar with the electronic system to use the modified remote control.
4533) Appropriated Processed Photography: The domestic artist will need a functional television (preferably color) and a camera (polaroids are highly recommended). Turn on the television and process the images by aggressively distorting the color, tint, contrast, and resolution. Prepare the camera by turning off the flash, or by placing electrician’s tape over the flash. Turn off the lights. Get close enough to the television to allow the television image to completely fill the frame of the camera. Photograph at will.
454
455# Public Works
456The aim of this project is to engage the user with the more glaringly evident problems of the urban landscape seeking his intervention as a civil worker who has to uncover dysfunctional elements present in the city and to initiate the reparation, completion, extension, or modernization of public works specifically, not as a gesture but rather as a permanent urban intervention that takes advantage of the easy overlapping of terrains within which artistic practice can effect change. We anticipate an ethical dilemma in terms of the reversibility of conditions that the original project, do it, demands.
457The project requires that dysfunctional zones, elements, or situations evident in an area of 1 square kilometer be identified and addressed.
458Some public works which generally require intervention include:
459Repaving
460Reforestation
461Cleaning
462Expansion/signposting of pedestrian zones
463Road signs
464Lighting
465
466# Finding a four leaf clover on a sunny day
467Wait for a sunny day
468Look for a field full of clovers
469Make sure there are no sheep or cows grazing in the field
470Walk slowly into the field
471Keep your eyes absolutely focused on the clovers
472Try not to tread on them
473See the clover with the four leaves
474Pick it
475Press it in a book
476
477Bouquet III
478Bouquet III, 2004 consists of four parts: a news-paper clipping titled: “Camp Smitty Celebrates Liberation Day”; a detailed description of the flower arrangement; a complete list of the names, sizes and numbers of flowers used (florist’s terms); and a certificate of authenticity. Based on the description and the list of flowers Bouquet III, 2004 can be reconstructed at any given time in the future. The first version of Bouquet III, 2004 was created on occasion of the 14th Biennale of Sydney by George Low for Lydia Florist in Sydney, and can be seen as a collaboration between the artists and George Low. Bouquet III, 2004 consists exclusively of native Australian flowers.
479Camp Smitty Celebrates Liberation Day
480On May 5 1945 the Netherlands was liberated from Nazi occupation by British, American, Canadian and Australian allied troops. Since then May 5 is celebrated as a national holiday by Dutch citizens all over the world. In 2004, the 1.260 Dutch soldiers present in As Samawah, Iraq as part of a multinational peace-keeping mission named “Stabilisation Force Iraq”, celebrated Liberation Day by raising the Dutch flag over their settlement, Camp Smitty. In a brief speech Commander Richard van Harskamp made a connection between the work of his troops and what he described as the “Iraqi strive for freedom”.
481
482# How to obtain one kilogram …
483How to obtain one kilogram of high quality cocaine in twenty steps (with the best economy of materials)
484PART ONE: OBTAINING THE “COCAINE BASE”
4851. Gather 60 “arrobas” of coca leaves (species Erytroxylon novogranatense).
4862. Prick and beat the coca leaves, then sprinkle with sodium carbonate. After the coca leaves have been treated with the sodium carbonate, wrap them in plastic film. The sodium carbonate will make the leaves heat up.
4873. Leave the coca leaves enveloped in plastic film for 4 hours. This process is called “maceration”.
4884. In a large plastic container, mix 5 gallons of yellow gasoline (regular) with the 60 “arrobas” of treated coca leaves. Let this mixture sit until the following day, stirring several times with a wooden stick.
4895. The following day, wring out the coca leaves with a mechanical press or manual wringer (for example, a hemp sack, which is twisted to squeeze out the liquid in the leaves). The product of this wringing process will be a mixture of yellow gasoline and alkaloid.
4906. In a separate plastic container, combine 15 milliliters of sulfuric acid with one liter of water.
4916.1 Add this mixture to the gasolinealkaloid mixture (see number 5). Stir this mixture for 5 minutes, then let it sit to allow the gasoline and water to separate.
4926.2 The water (the heaviest ingredient) now lies under the gasoline. The alkaloid is now borne by the water.
4937. Continue to separate the gasoline from the water (which now carries the “mercancía”). Repeat the procedure described in number 6, but this time, instead of 15, add only 5 millimeters of sulfuric acid. Repeat this procedure three times. Once all the “material” had been taken out of the gasoline it will be worked on in the water.
4948. In a plastic container, mix: 500 milliliters of water, 10 milliliters of ammonia, and 5 grams of sodium. Stir or shake this mixture very well.
4959. Slowly add the preparation in which the alkaloid lies (obtained during the process described in number 7) to the mixture described in number 8, stirring constantly with a wooden stick. The mixture will turn white. From this is obtained the cocaine base.
49610. Lay a white sheet over the mouth of a fresh container. Over the sheet place a paper filter, through which is poured the mixture obtained in number 9. The cocaine base will remain as a sediment on the filter paper.
49711. Remove the sediment from the filter paper with the aid of a spoon, placing it on a porcelain plate. This sediment may be left to dry naturally in the sun, or may be dried with electric lamps.
49812. 60 “arrobas” of coca leaves yield approximately 1000 grams (one kilogram) of cocaine base.
499PART TWO: CRYSTALLIZATION
50013. Acquire 12 liters of ether (ethyl oxide or sulfuric ether) which functions as a solvent.
50114. Pour the ether into a very clean white plastic container. Add the cocaine base obtained in Part One.
50215. Acquire 12 liters of ether (ethyl oxide or sulfuric ether) which functions as a solvent.
50316. Pour the ether into a very clean white plastic container. Add the cocaine base obtained in Part One.
50417. In a similar receptacle, add 15 liters of acetone to 220 milliliters of hydrochloric acid. Stir well with a wooden stick.
50518. Pour the mixture described in number 15 into the receptacle containing the ether (see number 14). Hermetically seal this container and let sit until the following day.
50618.1. The mold is open at the bottom to allow the liquid to drain during the pressing.
50719. The following day, pour the mixture obtained in number 16 through a paper filter, placed over the opening of a fresh container. The cocaine will remain as a sediment on the filter paper.
50820. Line a mold with filter paper, making sure that the paper has no holes. The cocaine is pressed into the mold with a manual press, taking the form popularly known as “panela”.
50921. Put the “panela” in a microwave oven for two minutes, allow it to cool, then turn it over and repeat the oven process.
51022. To obtain more cocaine repeat the process described in numbers 1 through 20. The process described above serves to obtain 1000 grams (1 kilogram) of cocaine. Based upon these ratios, one can establish the relative measures necessary to process any quantity of material.
511
512# Bad Press: Dissident House Work Series
5131. CENTER THE BACK OF THE SHIRT ON THE IRONING BOARD AND PRESS THE YOKE FROM THE COLLAR DOWN, CONTINUING TO PRESS THE BOX PLEAT.
5142. ROTATE THE SHIRT COUNTER-CLOCKWISE SO THAT THE LEFT FRONT PANEL IS CENTERED ON THE BOARD AND PRESS. THEN REPEAT FOR RIGHT FRONT PANEL.
5153. PLACE THE RIGHT SHOULDER OVER TIP OF THE IRONING BOARD AND PRESS. THEN PLACE THE RIGHT SLEEVE ON THE BOARD AND PRESS FROM THE UNDERARM TO THE CUFF. PRESS CRISP CREASE ALONG TOP EDGE OF SLEEVE. REPEAT FOR LEFT SIDE.
5164. PLACE OPENED SHIRT YOKE DOWN ON BOARD AND PRESS INSIDE OF COLLAR. FOLD COLLAR BACK AND PRESS CREASE ALONG COLLAR FOLD.
5175. BUTTON SHIRT AND PLACE FACE DOWN ON BOARD.
5186. FOLD LEFT FACET IN TOWARDS CENTER TWO AND A HALF INCHES FROM OUTSIDE EDGE (1). PRESS A CREASE ALONG FOLD FROM TAIL HEM TO YOKE.
5197. FOLD LEFT SLEEVE DOWN SO THAT IT ALIGNS WITH THE FACET CREASE AND PRESS AT FOLD (2). REPEAT FOR RIGHT SIDE (3–4).
5208. FOLD SHIRT TAIL ONE THIRD OF THE WAY TO THE COLLAR (5). FOLD OVER AGAIN TO THE YOKE (6).
5219. TURN SHIRT OVER AND PRESS.
522
523# Instruction (2002)
524Find a Russian. Ask them to please read this to you. (Without questions and with feeling. Loud if they don’t mind.)
525
526# Do-It-Yourself Museum Project
527Rooms contain objects that are visible yet not intended to be looked at. These include steam heat radiators, electric heat radiators, electric light switches, electric outlets, electric wires, water pipes, gas pipes, drain pipes, lighting fixtures, wooden trim, paint, surveillance cameras, burglar alarms, etcetera.
528Using a graphite pencil or a ballpoint pen, make a list on paper or wood of all of the not-to-be-looked-at objects in a museum room.
529
530# To Create Sympathy in the Home
531RATIONALE
532_We do not, after all, equate selfishness with intelligence.
533_Narcissism may be the beginning of love, but we know love as love only when it escapes self-regard and self-protection. Sympathy (or empathy) is the base of intellectuality, and its driving force, It is in the home that the connections between sympathy and intellect can most clearly be seen and are most clearly sought after. A home that is perceived as “sterile”, without sympathy, seems to us not a home at all. A home is a welcoming shelter, isn’t it? If it is hermetically sealed against the world it is more stupid prison than shelter. Despite superficial cultural or architectural differences, from one end of the world to another, home is profoundly the same. I will therefore use my own home as a model for this project. Although your home may not have every element I mention, (Black Widow spiders, for example, may not be common in your area) we can see that with imagination our various homes are essentially the same. It is a privilege to entertain and help strangers in need. It is also a delight.
534METHOD
535_Remember the hungry kitten arrived at your door? We may use that as an example of an approach, which takes sympathetic advantage of continually existing phenomena. Certain American Indian tribes believe that the spider is the Universal Grandmother, who sits in the corner weaving, un-noticed until needed. This especially means a Black Widow spider; and it is considered a good fortune to have a Black Widow spider at the entranceway of one’s home—as both welcome and caution. If you are adverse to the interpretation of spiders as Grandmothers, you might try imagining them as sky fishermen. They carefully spread their nets and patiently wait to flying fish. Think of spiders as welcome little guests. What to feed them? To insure a good supply of both flies and maggots (some spiders cast nets close to, or on, the ground.) is also an opportunity for us to be sympathetic in unusual ways. That is the most valuable sympathy—it is easy to be sympathetic to someone similar to oneself, isn’t it? We don’t normally think of “ starving” bacterial, but the bacteria without proper nourishment in one’s house will surely die, and it, too, is there seeking shelter. Kindness to bacteria can actually attract tired and hungry flies who, like you, seek shelter. If anyone in your vicinity kills another animal or a succulent root-plant such as potato, ask for a piece of the muscle tissue. You can eat part of this yourself, thereby providing nourishment to millions of bacteria, which live in your large intestine. Leave the remainder some place high enough where the kitten can’t find it. The bacteria will find it and soon after the flies. Cockroaches will also come. Welcome them, because a marvelous type of centipede will arrive. Although these centipedes cause blisters on one’s skin if touched, they are beneficial in maintaining a natural balance of the cockroach population.
536_A most beautiful kind of iridescent cobalt blue wasp will also be attracted by the larger cockroaches. Indeed, why not start a vespiary? Wasps of all sorts are fascinating, and the larvae of some wasps are very good to eat; roasted like nuts.
537_You will find that your flies will have brought salamanders, lizards, and iguanas. (The iguanas are also quite edible, but beware eating salamanders because of poisons found in the skin.) Crickets, much prized in the Orient for their cheerful song, will seek the droppings of the salamanders and lizards. Their chirping will in turn bring scorpions. At first you may be nervous at such houseguests. Don’t be! Scorpions mean no harm to humans and are not aggressive. The fact that they can be dangerous serves to make one more careful, in the same way that one’s lover of business-friend can be.
538_After eating your evening meal, place all the table scraps just outside the front door, then leave the door open. One evening I had a virtual party of at least twenty stray-dogs that way. But later, after most of the dogs have gone, you will receive visits from raccoons, skunks, opossums and rats. Try taking flash photos by attaching a string from the camera to a piece of dead, cooking cow or sweet potato. By this time many of your new animal friends will have become accustomed to you to the degree that they are as though part of your family. Is that the squirrels I hear rustling in the pantry, or the mice? Let the kitten and a couple of the dogs investigate! Once I discovered that a magnificent King snake had found a shelter in the pantry. He had not touched the pig parts I had hung there, but instead had eaten some of the mice, which had been sharing my Camembert. The same day I greeted a large colony of bats in the attic. They are half Angel half Demon. Bats have neither lice nor fleas, but they carry more exotic life forms, such as germs associated with Rabies (a strange little animalcule that actually lives in the brains of mammals including humans. —we can imagine therefore that the Rabies germ is closest to art of all life-forms.), Cholera, and Dysentery. If your kitten eats, or is bitten by, a bat, you should probably give it to the neighbor’s children. But do not worry about lice - keeping an attic window open will invite not only bats but also pigeons of course. It is those who can provide your home, your living infrastructure, with lice. Fleas will already have arrived, as the natural accompanies of the mice and rats.
539
540# Instruction
541Casting a ring from silver and losing it in the street
542
543# Physiological Memory
5441) Choose a person, older than yourself, you see frequently—not too often but approx once a week or once a month. Maybe one of your grandparents if they are still alive.
5452) Every time you meet the chosen person you press your 2 pointing-fingers firmly against your eyes for 10 to 20 seconds until various colors and patterns arise.
5463) Try to note or memorize the patterns and colors in connection with the context and repeat the practice every time you meet the chosen person for as long as possible, minimum 6 months.
5474) After minimum 6 months of this practice you can recall the person, virtually by pressing your eyes for a while. In the midst of the colors and pattern a sense of presence of the chosen person arrives even after the chosen person has died.
548
549# Dinner for Two
550Choose a dining table, round or square, but not too big.
551Cover the top with a table cloth and place two white china plates, two sets of forks and knives and two wine glasses on it. Pull the table cloth off the table and leave the cloth and the crashed china and glasses on the floor beside the table.
552(a thin and not too solid quality of china and glass will give the best result).
553
554# What Would Tracey Do?
555Take a table. On the table place 27 bottles—all of different sizes and colours. Take a reel of red cotton and wrap it around the bottles, like a strange web that joins them all together. You can, if you wish, take the reel of cotton underneath the table.
556
557# Ferrari
558Buy or rent one red Ferrari. Let one friend drive a grey Palio in front of you. Make him/her stop. Continue driving at a moderate speed towards the Palio going under it. This can be done in an art institution or as art in public space.
559
560Empty two or more dry powder fire extinguishers into a fine art museum storage.
561
562# Homework (or Do It Yourself)
563Look for a photo of a person who seems likeable or attractive. It’s important that you can assume this person is dead. You don’t need proof, your assumption is enough. The photograph might be found in a variety of places: magazines, flea-markets, a family photo album. In any case, you must take great care in the search, which will continue until your intuition tells you that you’ve found the right photo. However, it is important that the person you choose is a complete stranger.
564You take this photo and choose a frame according to your taste, as with any home decoration. This can be a wall frame or a standing frame, or possibly a case that you carry around.
565Having brought this photo into your daily life, and now looking at it frequently, you should, as often as you like, think about who this person might have been, about what his or her life may have been like, about the cause of his or her death. You should find out how close you can get to this person, and at what point you would give him or her a name …
566
567Untitled
568// generated by do_it, do not modify
569unbindall
570bind UPARROW “+forward”
571bind DOWNARROW “+back”
572bind LEFTARROW “+left”
573bind RIGHTARROW “+right”
574bind MOUSE1 “+attack”
575bind MOUSE2 “+zoom”
576bind MWHEELDOWN “weapnext”
577bind MWHEELUP “weapprev”
578seta timelimit “0”
579seta fraglimit “0”
580exec do_it
581
582# Moon over Takasaki
583DOitDOit
584
585Tapping the thumb and index finger of the right hand together, say “point” out loud. Let your fingertips remain touching while you repeat the action with the left hand, again saying “point” out loud. Now move both sets of closed fingertips (points), the left and the right, while saying “line.” Move the two points in any direction desired at any distance from each other to reposition or rescale the line.
586
587Think about climate change.
588Sit for some moments in dumb grief, dumb knowing, dumb amazement.
589
590# To build a city
5911. Draw any regular or irregular contour line showing the floor plan of the home you desire (not necessary to indicate partition walls)
5922. The scale of the drawing should be 1 cm = 1 m
5933. send us back your drawing to balkisproductions@gmail.com with “To build a city” in the subject line
5944. all the drawings sent back will be displayed together within a grid (an "infrastructure") of 10 cm x 10 cm mesh model
5955. the collection of all drawings (floorplans) sent back will be pasted onto the grid: the whole collection will represent the urban plan of "Utopia - City"
5966. Do not forget to inscribe your name into your plan.
597
598# Beauty Marks
599Place a beauty mark of appropriate size on an available or chosen wall area.
600The size of the beauty mark is determined by the size of the wall area. The relationship of the beauty mark to the wall area should be similar to the relationship of beauty mark to the human face.
601The beauty mark, preferably a perfect circle, should be black or dark in the case of a light wall, and of light or bright color in the case of a darker wall.
602Like the beauty mark on a face, the beauty mark on the wall accentuates the surrounding area.
603During the time period that the beauty mark is applied to the wall, a corresponding beauty mark should be applied to the face(s) of the person(s) responsible for putting the beauty mark on the wall.
604Great care should be taken with the choice of adhesive used on the face and the wall.
605
606# Profile/Status
607Read the autobiography of a wealthier, more glamorous, sexier, more popular figure than yourself (preferably deceased). Attempt to impersonate that person in your daily life by acting out whole chapters of the biography and details of the life of this person within your mind. Continue this exercise as often as possible throughout your life regardless of the actual facts of your existence. Take notes. The project may be deemed a success if, and only if, you eventually believe in your new persona more than your old persona, yet there is no outer indication of any change and nobody detects that you are leading a double life. Later, write an autobiography about it.
608N.B. This exercise may also be applied to movie biopics if they provide sufficient material.
609
610# HOW TO CATCH THE HOLY GHOST or GET ARRESTED IN A SHOPPING MALL
611Grab an adventurous buddy. Go to your favorite shopping mall with the following:
6122 pairs of white gloves
6132 old church hymnals
6141 handkerchief
6151 portable battery-operated amplification system
6163 rocks (found on the street on your way to the mall)
617Once you arrive at the mall, pick a comfortable and populated space, preferably not the parking lot, as it cheapens the effect of the spiritual impartation if it happens in a parking lot, although visitations can happen anywhere.
618Next you and your buddy set up the portable amplification system.
619Both you and your buddy put on the white gloves.
620Your buddy picks up the hymnal and places the 3 rocks in front of you both, spacing them 1 foot away from each other (this is your sacred space).
621You pick up the microphone.
622Your buddy reads no more than 6 lyrics to you from the hymnal (da da da da … lord, da da da da—in my time of need, da da da da, etc.)
623Closing your eyes and in no hurry, you recite the words that your buddy has just shared over and over again, singing them if possible, but at the least stretching the words out so that they linger like heavenly clouds.
624Daaaa daaaa daaa daaaa (replace with real lyrics) Daaaa daaaa daaaa daaaa (feel free to stick with the same number of words or move on).
625Warning: Sometimes, if there are too many words, it is more difficult to receive the impartation.
626Over the course of thirty minutes, your tone should go from hardly audible to competing with the bad rock music coming out of the local women’s lingerie store.
627Get loud.
628Wave your hands.
629Close your eyes.
630Say yes.
631Go all the way.
632Open your heart.
633After ten minutes or so, you should start to feel something. If you feel it, say yes and try to make yourself feel it again.
634
635# The Square Meter Boundary Marker
636There are two ways to make the squaremeter boundary marker:
6371. Outside, stake out a 1 meter sided square using 4 stakes roughly 20 cm high and some white string. If the ground is too hard to drive in the stakes, merely lay in the string on the surface so that it delineates the square.
6382. Inside, construct a 100 cm x 100 cm wooden frame using 10 cm long, 2 cm thick planks. Paint it black. Add a flexible plastic bottom. Place it on the floor of the room. Depending on the exhibition venue, fill the box with sand, pebbles, volcanic ash or dead leaves, but no manufactured materials. Once the exhibition is over, the materials in the box are to be returned to the place from whence they were taken.
639
640Be Happy Send Money - Be Happy
641End Money - Be Money - Send Money
642
643# Ten Commandments for Gilbert and George
644I. Thou shalt fight conformism
645II. Thou shalt be the messenger of freedoms
646III. Thou shalt make use of sex
647IV. Thou shalt reinvent life
648V. Thou shalt create artificial art
649VI. Thou shalt have a sense of purpose
650VII. Thou shalt not know exactly what thou dost, but thou shalt do it
651VIII. Thou shalt give thy love
652IX. Thou shalt grab the soul
653X. Thou shalt give something back
654
655# Somewhere Between
656Approach a stranger who you perceive to be somehow different to yourself.
657The difference between yourself and this person could be of any nature, for instance— age, class, lifestyle, politics, skin color, religion etc etc.
658However, the category or categories of difference that you chose, should be one(s) that deeply inform your own life.
659Ask someone to take a photograph of yourself with this person.
660Send in the photo stating the date and the place.
661
662# Instruction
663Using a pipe and a cable detector locate all the cables and metalwork hidden below the surface of chosen wall. Loosely mark their location using a light blue pencil.
664
665Teach, in other words: learn with.
666To live the landscape with passion. To bring it out of the indistinct, to search it, to light it up among ourselves. To know what it means within ourselves. To take to the earth this clear knowledge.
667If the solution seems difficult to you, maybe even unfeasible, don’t go shouting out of the blue that it is wrong. Don’t use the real to justify your failings. Instead, realize your dreams in order to deserve your reality.
668Exalt the heat and grow stronger from it. Your thinking will blaze. Air-conditioners ought to be detested.
669But the blaze fades away. Dwell in the continuum. Let’s tie the ropes again, and search. To be earthen and heavy.
670To vomit daily from this common vomiting.
671O fallen, isn’t it time you submit to the black compost such pettiness that only awaits your blade.
672If you lack skies to dare living, go deeper, leave the spark of words, search into the root.
673Then, as in the many childhoods you have given us, you will speak of doing.
674
675DON’T DO IT!
REFUSE!
DO AS YOU ARE TOLD!
(THIS MEANS YOU!)
676
677# XXL Color Books
678Adapt your favorite book into a XXL size color book:
679* Enlarge the original book ten times (or 20 times); if the book is 12 cm x 18 cm—it will become 1.20 m x 1.80 m big.
680* Divide the amount of pages by 10 (or by 20) 120 pages will become 12 pages, 265 pages will become 26 pages and so on … (or 13 pages if divided by 20)
681* Pick up one or several colors in relation to the content of the book, for example, black pages for “Le Parfum de la Dame en Noir” by Gaston Leroux.
682* Use material that can be put on the floor like carpet or fabric, soft material which can be used for furniture or domestic needs.
683* Attach the pages together on the left side— it should be possible to open the pages and turn them like a real book.
684* Place the color book on the floor. Open it—There are so many ways to enter a book, you can also seat and sleep and dream on it.
685
686# “Untitled”
687Get 180 lbs. of a local wrapped candy and drop in a corner.
688
689# Three Steps to Heaven
690You will need:
6911 bottle of fine Mexican tequila
6921 bottle of champagne
6931 strong glass tumbler
694Step 1 Pour one or two measures of tequila into the tumbler.
695Step 2 Add one or two, or more, measures of champagne (according to taste).
696Step 3 Grasp the tumbler with your left hand. Put the palm of your right hand over the top of the tumbler and press firmly. Raise both hands (still holding the glass) and SLAM the tumbler, full of liquid, back onto the tabletop, keeping a firm grip with your left hand, and keeping your right hand over the top of the glass.
697The mixture will be fizzing furiously. DRINK the whole glass IMMEDIATELY. Repeat as necessary.
698
699# Do-It-Yourself Two-way Mirror Mylar Window
700Purchase a sheet of two-way mirror Mylar film which can be applied to windows for solar insulation and for interior privacy from the people on the outside during the day. It should be applied to a window clearly visible from the outside.
701During very bright sunshine it will be transparent from the inside, but a mirror for the people on the outside. During dark days or times of shifting cloud cover, as well as during the time between sunset and twilight, the view from inside the house will be as reflective and as transparent as the view from outside the house, superimposing reflected images of people and living space inside the house on top of images of the space outside the house. As the light changes, the regime of transparency opposed to reflectiveness will be in continuous flux.
702
703# Continuous Transformation of the Form of a Child’s Sled into That of Another
704Acquire or make eighty identical 35 mm diapositive transparencies of an image of Ludwig of Bavaria’s golden sleigh from Schloss Nymphenburg, and place them in the carousel of a Kodak slide projector. Place the projector on a child’s sled facing forward and install the sled at an angle to a white wall, such that an anamorphic image of Ludwig’s sleigh is created when the projector is turned on. Set the tray to advance automatically, cycling through the eighty images endlessly.
705
706# Instruction
707Watch TV with the sound turned off for one hour.
708
709# Exercises
710Bring closets, tables, stools, chairs,
711sofas, shelves, other stands
712into an empty room
713set down
714lean, shove under, force in, tilt
715pile up, make fit
716stack up to closet height
717up into the door frames
718close doors.
719open doors
720enter into the mass of material
721climb, sag in, slip farther, remain lying
722weight, pressure, counter-pressure
723in the stillness of the persevering materials
724lean, give way, fit in
725disappear
726rest.
727
728Cauris (Cowry)
729Tight/back bag—Back bag/tight
7301. To begin, you need a pair of plain women’s tights without any pattern or pre-formed feet, but with a double waistband. (See diagrams 4 & 5).
731The selection of fabric can vary, there are many choices (cotton and lycra, polyamid and elastic, nylon, etc.) but be sure that the tights are thick and resistant. The amount you spend can vary depending on the function and how the bag will be used. Select a size; either medium or large. The panty part must be large enough.
7322 & 3. Make a simple knot in each leg at the base of the panty.
7334. With the waistband doubled and turned inside-out make a vertical cut along the center front and back seams of the tights.
7345. Make a simple knot at the bottom of each leg of the tights, in the foot.
7356. Pull each knot through the openings in the back of the tights.
7367. Pull the knots through the opening in the front of the tights and make two more knots like the ones you already made. The double knots will prevent the legs from pulling out the waistband.
7378. The tight/bag will take the shape of the objects it contains.
7389. The tight/bag coiled up on itself forms a small ball that looks like a shellfish, from which it takes its name: Caurisâ„¢ (French for Cowry)
73910. The tight/bag or bag/tight is finished. You can reclaim the tights by reversing the operation.
740
741LOOK STRAIGHT
742DON’T SEE
743Kindly fill below
744Where do you live currently
7452) Virtually
7467) Mentally
7474) Philosophically
7480) Physically
749
750# Composition
751Get a coloured postcard in the Chicago area of a subject in Chicago. Either get it yourself or, if you are worried about the aesthetic responsibility of choosing something, ask a friend to provide it.
752Take a piece of paper and cut a hole in it 1 inch high by 1 ½ inch wide. The hole should be square with a corner of the paper, 1 inch to the left of the right hand edge and ¾ inch from the bottom edge. Place this in the bottom right hand corner of the postcard. Get a photographer to enlarge the area of the postcard revealed in the hole to a size of 2 feet 8 inch x 4 feet, preferably on sensitized canvas but if this isn’t possible have a print dry mounted on hardboard (Masonite).
753Leave 20% of surface untouched, black and white.
754Paint 40% in roughly the colours apparent in the postcard.
755Paint 40% in the complementaries of the colours that appear in the postcard.
756Either use transparent stains or opaque colours, some thick, some thin, which areas are at your discretion.
757
758# FUTURE
759— Imagine your bust size when you are an adult, 38, 40, 42, 43, …, 45, …, 65?
760— Buy a full arm white cotton shirt of the size you imagined.
761— Sit in a quiet or very noisy place that can inspire you to think! Now make some notes about what you may become in your future! Imagination can be from the imaginary or real world!
762— Reflect your thoughts on the white shirt by painting, collage, embroidery or any suitable material to use on cloth.
763— Announce a special day to wear this shirt and enjoy the discussion about your future!
764— Save the shirt until you become an adult and see if you can reach/match your imagination.
765— If this project is done in a group you can organise an “Absurd public march” by carrying placards with the word “future” along with shouting the word “future”!
766
767# How To Turn Your Ordinary Kitchen Utensils Into Modern Electrical Appliances (1996)
768Easy to follow step by step instructions:
769Take your favorite steel colander.
770Take a 2-meter length of dual electrical wire for a light bulb.
771Separate the cords of the electrical wire for a length of about 50 cm down the middle part.
772Cut one of the cords at center point and connect one end of the cut cord to one handle of your steel colander. Connect the other end to the opposite handle. (see diagram)
773Fit an electrical plug to one end of the wire and a light fitting and bulb to the other end of the wire. The purpose of the light bulb is to indicate when your appliance is on.
774Plug in and enjoy!
775NOT RECOMMENDED For anyone who hasn’t got a clue!
776RECOMMENDED For euthanasia enthusiasts.
777Next week: hints from How to Cook Yourself cookbook by Gerry Collins
778
779# Secret Friend
780Choose a person you like, or that you would like to love, or at least, a person you have good feelings for.
781Leave small gifts for him/her in personal places for five days.
782During those five days, secretly record in secret conversations with that person. The recording can be for a short time or as long as possible.
783Listen to the taping every night before sleeping.
784
785# The Logic of Redoing It
786I asked LSC for a kick-start idea for do it. He gave me his take, but insisted I don’t credit him or refer to him by name. But I have done it. Lafcadio Svensen Carner, he said the short auteur’s cut was not to do it, to do nothing, i.e., it is not a thing you can overtly do. (How do they do it, these megamind pscientists?) They will never finally, really succeed in doing it when it = the grand theory about every it/thing. Best to switch to art, especially abstract art or pure absolutart—that’s where to aim (or aim to miss, as several stratagists convey). Re: doing it right, LSC said, “I could only come up with, you can either do it right or wrong, there is no tertium whatshit. (i.e. excluturd middleterm), there is the theologic of it. That and O’Kamm’s shaver, to the restcu.”
787For do it
788Here is a do it you should not attempt in your own home, at least not in front of any children.
789—dedicated/in homage to an artist, not Marcel Du, but Marcel Prou.
790A can of worms (as in the diet of Luther).
791Severn worms, each dyed one of the VIBGYOR (i.e. violet, indigo, …). They are starved, cannibalistic worms. All seven punters are allotted a spectral color, as per the worms. Which will be the survivor? Two versions: 1) in a screw-top glass (transparent) container, 2) in a container where the glass is opaque. For both: one hour or more, to be decided by some means or other prior to opening and finding the winner(s).
792
793# Hazlo (Be you)
794I would like to be able to realize an experience fundamental to the spiritual, in which there is time to see, feel, listen, hear, touch, and taste a space, and the time in which the experience takes place is long, eternal, so that what is done lasts. This could be first an investigation of sacred places and their routes which would be done on foot, then later comes a plastic action realized as a result of the investigation and the experience.
795TOWARD SPIRITUALITY
796“Toward the Sacred” is a project that I have been working on for about five years, out of a need to give meaning to my artistic process. This project starts with theoretical research—the reading of sacred books, philosophy, history, and anthropology, then later come the actions or experiences that have brought me a comprehension of the sacred. The first action was a trip I took on foot from Bogotá to San Agustín, an old Indian settlement, 600 kilometers, 21 days of walking. The experience showed me that to walk is sacred, that walking connects man with something essential and primordial.
797In the action of walking there is wisdom; man knows, sees. Man, by being transported, loses the wisdom to know and accedes to a way of being that is more comfortable and safe, even if this means the absence of God.
798Industrialism, commercialism, and consumerism have despiritualized the human being, impoverished him, and made him believe that if he does not have things, he simply is nothing. Industry, commerce and consumerism offer the human being commodities and security— in exchange they forget God. Man has abandoned the land, abandoned the rivers and streams, abandoned the mountains, abandoned fishing and hunting, abandoned his home and his children, and when, at times, he does return, it is to burn the land, to strip away the mountains, to dirty the rivers and the streams, to pay for game and then return to his home—which offers commodities and security—drunk, undigested, brutalized without God.
799Thus, all our walks have been paved, the rivers polluted, the mountains and the forests destroyed, with no fish to catch, no little animals to hunt, and without a fruit to harvest.
800The sacred shows us what is and what is not useful in a secularized epoch dominated by mercantilism and totalitarianism.
801The artist does not have a choice other than to begin from zero, to trust in himself, and to begin anew.
802INSTRUCTIONS
803The idea is to surrender to a spiritual experience.
8041. Choose a space susceptible to the sacred or where there are still remains of the sacred.
8052. Live in that space for several days and nights.
8063. During this time do not talk to anyone, and eat only fruit and drink only water.
8074. Communicate only in writing or through a messenger.
8085. While in this space transform it into a metaphor that captures the essence of the experience for others.
809
810# Rust stain
811Mechanically grind into a dust a steel engine part from a passenger aircraft.
812Powder the town square or a place of focus. Let it oxidise.
813We can mechanically grind into a dust a steel engine part from a passenger aircraft.
814We can powder the town square or a place of focus.
815It will oxidise.
816
817# Instruction
818Embrace an important friend in a full-length hug for 31 minutes.
819Contact should be frontal, body to body, full length, with legs, chests, pelvises and heads touching.
820Speak a maximum of twenty words each to each other. Do not proceed to other activities or to “sex.”
821The room should be silent, without music. Alternately, videotape your embrace.
822There should not be a third party present videotaping; the camera should be set on a tripod with no operator.
823After, write your sensations on a large paper or blackboard. Read them out loud.
824Name the activity you have just engaged in, using just one word. Mail this word to me at the following address:
825S. Hite
826c/o Independent Curators
827International (ICI)
828401 Broadway, Suite 1620
829New York, NY 10013
830Repeat on a different day, if desired.
831
832To an ambitious curator: install a work of mine on the moon.
833
834# The Clear Fantasy
835I am going to try to share an idea or fantasy with you, through this text. Therefore, you must be ready to engage in this fantasy within the frame of existing possibilities. You mustn’t know anything about me. We can share the fantasy without knowing anything about one another. It’s a clear fantasy. You only have to forget a lot of things. Lose your preconceptions.
836However, don’t forget, at least for the time being, that this is a text, which mediates the fantasy, and that the fantasy is completely different. If you haven’t yet forgotten the nature of this possibility— that you can share this fantasy with me—you can forget it now. Let’s start by going step by step. Think about how you perceive the outer world, without concentrating on any one thing. Everything that surrounds you, and yourself as well, appears in a certain way; exists within a particular framework, although exactly how is unclear. Think about this framework. It is a frame with soft edges, which gradually dissolve outward. Once you’ve found the soft frame, it would be good to forget it. Now, leave the frame. First, concentrate on the immediate surroundings, and on everything but the frame. We’ve already come a long way. Next, try to imagine the essence of both the frame’s surroundings and the frame itself. In doing so, you must focus on the essence specifically; the rest remains general. Thus you manage to include everything.
837Now we reach the crucial step. After all, you are still thinking specifically about the essence of the frame and its surroundings. Try to tune out the specific, as if you were turning a knob. Lower the volume as far as possible. This enables the undiluted fantasy. The moment of clarity has arrived. From here you cannot go any further. But when you return, you will have gained, through the clear fantasy you’ve had, a reference point for thinking.
838
839# Untitled
840Choose two things that are similar and or different.
841
842Instructions for using the small rotating disc to determine the price of the work:
8431. Both parties must abide to the rule of turning ONLY ONCE and never asking twice, no matter what the results are.
8442. The buyer turns the disc, wait until the disc stops by itself naturally, when the red indicator matches to the numbers in the cells, the price of the work is determined.
8453. If the red indicator stops in between two numbers, the buyer can turn again.
8464. The reason certain numbers represent certain prices (i.e. N10–BF), is through a method of “picking randomly from a hat”, not through any connections.
8475. These numbers represent the prices of works from 5F–500000F, 0 means to stop the activity of buying and selling works.
8486. Is the question of “what is the reasonable price for a piece of artwork” a valid question? Should that question exist?
849
850# Instruction
851– Find a situation.
852– Write a time score (a scenario).
853– Select the players.
8541. Extract the coefficient of fiction contained in the situation.
8552. Intensify it. This supplement of fiction should amplify the reality of the situation. That’s your score, your ritournelle that rules the game.
8563. Each player should now be ready to play the score, during and inside the actual situation.
857Whether it’s a situation or a natural phenomenon, the time of the score is always linked to its’ natural duration. Like the duration of a rainbow.
858
859# To Scale
860Ask a General Practitioner, born before 1961, to draw—on any surface he chooses inside the Do It venue—what corresponds to the following description:
861Take the “pencil” (if the SQF is a pencil; the SQF being the Sufficient Quantity For the action to be visible, freely chosen by the doctor), place it on the surface and draw a 5 cm-sided cube in perspective showing each angle.
862Choose at random one of the cube’s angles and then draw another cube with a different vanishing point from the first drawing, without measuring the edges but in such a way that the second cube is not too dissimilar from the first one. Repeat the same process with the maximum number of angles of the first cube, then the second cube, and so on, for at least one and a half hours.
863
864# Metal Pavilion Suspended in a Room
865To create this piece something like 6,000 m. of flexible steel wire will be necessary, as well as 5 spot lights of 300w and a room.
866Think of the place, a construction, a garden.
867Write a text referring to it or look for one in a book at your personal or local library.
868Draw a plan of the pavilion to be suspended in the room.
869Calculate the number of panels necessary to create the entire construction.
870Cut pieces of flexible steel wire of approximately 3 metres grouped into bundles of 12 wires waved to plaits of five. For a construction of 50 panels, some 80 plaits will be necessary.
871Use the wire to create a mesh leaving gaps of 15 cm x 15 cm forming structures of 2 m x 1.20 m. Each structure would need circa 5,000 m of wire.
872Trace with the remaining wire the parts of each letter which occupying a quarter of each grid will create the text to be projected.
873Repeat this procedure to construct 50 screens.
874Consider the lighting to be required to project the shadows of each screen on the floor and walls of the room.
875Install the lighting before hanging anything since the structure will block your access to the required locations.
876Organise the construction beginning with the hanging of the horizontal and highest elements first, followed by the vertices that will be positioned further into the room. *(take care not to tangle the wires holding the panels from the ceiling).
877Identify the parts of the room to be blocked and those which are doorways, interior passageways and estanzas as you advance through the room towards the exit.
878Adjust the lights using the previously installed dimmer switch once the installation process is complete.
879Enter the room at the moment the light passes through the panels and projects the text on the walls and floor.
880Walk through the places you have designed.
881Take all the time you need.
882
883# Instruction
884dance with a large piece of chalk
885mark up the nearest surface and pay attention to the movement of your feet
886music optional
887
888# The White Cube
889Construct a wooden cube 8’ high x 8’ 6” wide in the exhibition room. The surface of the cube is smooth, glossy, and painted white. Two stepladders are placed on either side of the cube, the last step being as near as possible to a height of 5’ 9” so that you can climb the stepladder and stand up. Inside the cube, at the exact center, place a piece of paper folded in two, on which is handwritten in very small writing in the local language, “Wherever you went, there was a strong smell of petrol.”
890The idea of the installation is as follows: The spectator, climbing the stepladder, expects to find what is inside the cube: instead, he sees from a distance a text written in so small that he can neither read it nor unravel the enigmatic message. Even better, if the top of the cube were to almost touch the ceiling, the mysterious effect would be increased.
891The situation will be particularly comical when two spectators simultaneously climb the two stepladders: they will find themselves face to face with their protagonist, stuck between the edge of the cube and the ceiling.
892The installation is clearly based on metaphor: the enigmatic message is almost within our grasp, we can see it, but we cannot reach it, despite all our efforts (the fact of climbing the ladder).
893
894# Instruction
895Start a rumor.
896
897# Chores
898Sweeping the dust from the floor of a room
899Spreading the dust in another room, so it won’t be noticed
900Continuing daily …
901
902# Untitled (Voices): Digital Version
903Mini-disk recorder, exterior microphone with on/off switch.
9041. Record in a place with a colorful or weird history
9052. Start recording; announce location of recording site and reason for its choice.
9063. Turn off microphone, raise recording volume to maximum setting.
9074. Record for at least ½ hour.
9085. Send disc to Mike Kelley Foundation for the Arts at 7019 Figueroa Street, Los Angeles, California, 90042, preferably with photo of location.
909
910# Insecure
911list ten strategies you use to seduce others
912whisper your name over and over to yourself till you feel like it doesn’t make sense
913while in conversation closely watch the person you are speaking with and start assigning meanings to their every movement— apply the same to yourself
914look at yourself in the mirror and try to imagine you are someone you are meeting for the first time
915remember the oldest lie you ever told—remind yourself that it is a lie
916next time you find yourself the centre of attention think about how you got there
917start mumbling to yourself while walking through the street whatever comes to your mind
918in the morning act out something embarrassing you did the night before in front of the mirror
919next time you meet someone you know well but not well enough to trust completely
920explain to them why certain things make you feel uncomfortable
921wonder what the closest person to you really wants from you
922wonder what you really want from the closest person to you
923
924# Fried Cellular Phones
925To make fried cellular phones, dip the cellular phones in batter, dredge them in bread crumbs, deep fry them in oil, remove the excess grease, then serve on a plate with clear soy sauce. It is better to choose cellular phones that are in good working order, the more options the better, containing as many phone numbers of acquaintances as possible, and, if possible, with messages that have not yet been checked.
926Cellular phones do not float up to the surface when they are cooked nor can they be poked with a chopstick, so they should be taken out of the oil when the batter is golden brown. The dish can have a stale smell if the circuits, LCDs, and batteries are overcooked, in which case the phones should be served with a slice of lemon.
927The most delicious fried cellular phones can be obtained by frying the phones dipped in batter at the moment there is an incoming call. When the phone rings, push the “talk” button under the thin layer of batter and dredge immediately with breadcrumbs and fry. The most visibly appetizing fried cellular phones are those silver metallic ones with rounded corners that have an LCD on the front. When served with a slice of lemon and a branch of parsley, they look like big fried oysters.
928
929# The possibilities of trust as a sculpture and the question of value for each participant
930Invite a stranger into your home for breakfast.
931
932REPENT
933
934# Homage to Each Red Thing
935Divide the exhibition space floor into squares of any size.
936Put one red thing into each square.
937For example:
938a piece of fruit
939a doll with a red hat
940a shoe
941Completely cover the floor in this way.
942
943Think about a specific memory you have of being 5 years old. It should be experiential, not factual.
944Spend 10 seconds there.
945Step through each following year, thinking of one memory from each, until the age of 18. Teachers, grade levels, and friends may be helpful memories. Stay focused. One thought per year. Don’t write them down. Don’t worry about remembering them.
946Spend approximately 30 seconds trying to observe now.
947Go for a walk outside alone. At least 10 minutes.
948
949Why not prepare a dinner for yourself and eat it alone?
950*Make sure not to eat the day before and shit before eating.
951Dinner Menu:
952Cut a dried seahorse in half down the middle, pick both pieces up in your fingers and drop them on table. Eat the piece further from you; One dried pupa of American white moth; Two grains of uncooked rice; Finish with laxative; On the same night, shit on the street where you can not be seen; Leave the dumpling for all to see.
953
954# Musée Dominicil
955in the corner of an empty room
956bring together all the things
957you can find at home
958dishes
959linen
960tools
961books or whatever
962and for good measure
963throw in whatever else
964is close at hand
965hang the collection on the walls
966like they do in the museums
967palaces, arsenals, or chateaux.
968
969# Instruction
970Cut out questions marks from various newspaper or magazine texts. Then, during your walks in a city, stick them onto public poster texts wherever you will consider it to be important.
971
972# Untitled
973Use a pen (black or colored) or pencil (wellsharpened)
974Take a clean sheet of paper that isn’t too big (A4 or Letter is just right)
975Draw a line using a plastic ruler as your guide for measurement
976Begin any point on the paper
977First draw 5 centimeters to the right
978Now draw backwards 3 centimeters
979Continue drawing 10 centimeters to the left, but a little lower now
980Continue the drawing 4 centimeters to the left, but move a bit higher now
981Continue to draw backwards 8 centimeters and 1 centimeter towards the left and then return to the point where you started
982Hang the drawing on the wall or keep it in a place where you can easily find it
983
984# It’s OK for Lovers
985Cut out a hole in the shape of five to noon either the window
986or the wall
987or the ceiling
988or the floor
989
990From somewhere of someone To someone of somewhere (around the world)
991Think of your best friends or your “someone”
992Write their names on the gallery wall
993Use the bright colors of velvet sun red, sky blue, cloud gray and lovely pink
994Cut the shape to make bags and sew them as samples
995Send the bags as the gifts to the names you wrote
996Do not write either your name or address on the mail envelope
997Keep it as secret—as beauty.
998A nice piece from home
999Find one thing from your home
1000Bring it into the gallery—sell it at your own price
1001And play your favorite songs along …
1002If selling succeeds, find other thing for the next day
1003And do it again.
1004
1005Around the world, one in three women has been beaten, forced into sex, or otherwise abused. Gender violence kills and disables as many women between 15-44 years as does cancer.
10061. Make a statement in solidarity with these women
10072. Post/present/perform/exhibit or otherwise distribute
10083. Make it matter
1009
1010CLEAR YOUR MIND OF ALL THOUGHTS and say MOON making a perfect circle with your lips, and hold
1011
1012DO IT 1 Print the invitation letter to this exhibition. Then crumple it and place it inside a Matryoshka doll.
1013DO IT 2 Find two bathroom parts that resemble the letters “I” and “T.” Compose with them a ceramic language piece.
1014DO IT 3 Wait until the day of the opening to have the exhibition curator fill up a party size balloon with his own lungs. Once inflated and tied, fix it to a pedestal. The balloon should stay there for the duration of the exhibition.
1015
1016The following text is an extract from an analysis of one of Bertrand Lavier’s works by the French art critic Bernard Marcadé. The critical text will serve as instruction.
1017It involves making two boxes: one for food, the other for emoluments. Two rectilinear forms, the surfaces of which touch and almost completely overlap. Two time blocks—totally self-enclosed and perfectly sealed off from the outside world and its corruption and consumption—which within their cold interiors attempt to curb the insults of time.
1018
1019* The following THING is only suitable for production in spaces where formal mass trading of goods takes place.
1020* Please also be advised that the author does not take any responsibility for the results, outcomes, and/or consequences of the materialization of this THING.
1021This THING can be done as an individual or as a group; preferably as a group.
1022* When choosing the most suitable location, it is not necessary to choose based on the size of the store/ supermarket, however the bigger the store and more traffic it receives, the more interesting the outcome might be. Also bear in mind that the bigger the store, the larger the number of people that will be needed to realize this THING.
1023You can call this whatever you desire: performance/experiment/project/intervention/direct action
1024Preparation
1025You will have to organize yourself into a group of more than five people. The larger the group, the better the results may be (this of course depends entirely on your intentions and your geographical location in relation to how urbanized your area is or how densely populated it is).
1026There are various ways of forming a group or getting people together to partake in this THING:
10271) Create a page or forum on a social media platform (there are many of these that are free)
10282) Organize your colleagues at work, classmates at university, or artists with whom you share a studio
10293) Coordinate your friends, family, or members of your community
10304) Seek out individuals who belong to existing groups or LEHULERE, Kemang Wa this THING (2012) forums that share similar values as you, especially in line with your intentions with this THING
1031* As a cautionary measure, try to keep the preparatory work of your group free of those who may sabotage the realization of your intentions.
1032the THING
1033Make a list of items that you like or dislike, the latter being the most preferable. This should be discussed and decided amongst your group. Items should be chosen appropriately or randomly if deemed desirable. An example of carefully chosen items would be the selection of meat products (if you are a vegetarian and against the consumption of flesh, you could fill up you trolley/cart with different products). A more considered and careful selection of products could make a statement of whatever it is you feel this might afford you to say without words. Go to your local store or supermarket, whichever you prefer or that is nearest to you. Once there, break into groups of two or more, depending on the size of your group. Ignore this if you are working alone. Fill up a shopping trolley/cart with items from the shelves, fridges, or containers. It is mandatory that you fill up the trolley/ cart to its fullest potential; maximize the trolley/cart space potential for maximum effect. Pack items in your shopping trolley/cart with great care to preserve them in their original state as they were on the shelves, in the fridges, containers, etc. This is very important so that none of the products are damaged.
1034Once you have filled up the trolley/cart with your selected items, queue/stand in line as usual and make your way to the cashiers in an orderly fashion. It is important that your dispersed groups queue/stand in different lines for different cashiers. When your turn at the cashier has arrived, unpack the items traditionally and let the cashiers scan them. Once these have been packed and are ready to be paid for, leave the store/supermarket without paying, and leave all the scanned and packed items with the cashier. Do not turn to look back as you leave the store. Once you have left the store, the THING is done.
1035You can redo this at various locations (stores/supermarkets) should you wish to do so.
1036
1037Skip the next 2 pages. I’ll meet you here.
1038
1039# A black not straight line is drawn at approximately the center of the wall horizontally from side to side. Alternate red, yellow and blue lines are drawn above and below the black line to the top and bottom of the wall.
1040A black not straight line is drawn at approximately the center of the wall horizontally from side to side. Alternate red, yellow and blue lines are drawn above and below the black line to the top and bottom of the wall.
1041
1042LOST—street sign exchange program
1043Take down a street name sign.
1044Go to a different city.
1045Put up the sign in place of another sign.
1046Repeat.
1047
1048Nice to meet you again. You are in a room, a white cube of an art exhibition space (minimum of 100 square meters). Five books, do it: the compendium, have been placed randomly on the floor. To make that situation possible, somebody wrote on one of the walls in black letters of approximately 15 cm high at about 2.5 meters from the ground:
1049Welcome!! Please take a book you will find in this room and start to read page 241.
1050Welcome again and thanks for having used the instructions you read on the wall to get here.
1051Look around you. If you see somebody reading a different book than the one you read now, ask him/her what the book is about and engage in a conversation about books before continuing to read the next lines.
1052You have decided to continue to read, thanks. That makes me very happy.
1053Would you prefer to be told about what to do here by reading instructions or by somebody discussing instructions with you?
1054In the second case, please go toward somebody who has the book do it: the compendium in her/his hands and who is leaning against a wall, and ask if she/he can help you.
1055OK, great, we will spend a bit of time together.
1056Following instructions can be pleasant and a good way to entertain oneself. It’s a good way to escape the pressure of having to make a decision about what to do next. Nevertheless, it’s a byproduct of contemporary (2012) Western society in favor of the formula “do it yourself.” You might like or dislike that or not agree with it at all. So if you don’t want to follow instructions, do it at your convenience or ask others their opinion about the subject.
1057You are now reading. Please execute the following instructions at the same time you are reading unless otherwise specified.
1058While reading I suggest that you start to walk to the other side of the room. Walk faster than other persons present in the space. Or walk faster than you would usually do in this space.
1059Find a place against the wall where you feel comfortable. Rest against the wall for thirty seconds, looking at the ceiling, before continuing to read.
1060Thank you. I am curious, what did you think about? How was the ceiling?
1061Let’s continue.
1062Walk at a slow pace toward the center of the space. While you are walking, think about a pose of a figure that you remember and like from a painting, a sculpture, or other kind of artwork. When you have made your choice, try to remember the title, the date of creation, and the name of the artist. When you arrive at the center of the space, stop in a standing position and say loud enough: “the title, the date of creation, and the name of the artist of the work of art you have chosen.”
1063Please read the next paragraph before executing the instructions: Drop the book on the floor before taking the pose of the figure from the artwork you have chosen, and stay there for 45 seconds in a frozen position. If possible the pose should use the book as a podium to stand, or sit on, or something else. After 45 seconds take the book, open it at that page (241), and continue to read.
1064Thank You! Welcome back!
1065Read the next line out loud and address it to everybody in the room: “Thank You! Welcome back!”
1066You are now standing in the middle of the room continuing to read. Before reading the next lines, look at each person in the room, one after the other, trying to cross your gaze with each one. When you have seen each one, start to walk calmly in the room and, while reading, try to make each step of your walk different from the previous and following ones. The task is to try not to repeat the same step twice. Take your time. It can be, for example: steps different in size, in speed, in the way you put your foot on the floor, in how you hold the book, or how close your face is to the book, or thinking something different for each of the next two steps, or raising an arm, or twisting your torso, or holding your knee as high as you can before you drop your foot on the floor; or it can be different in directions: a step to the side, a step backward, a big step in front, etc. You continue to walk in that manner, each step different from the previous one, until you reach the wall opposite to the one you were resting on earlier. Lean against the wall and observe the space at your convenience. Rest.
1067Please read the next paragraph before executing the instructions: When you will have finished reading the last paragraph, drop the book on the floor and ask somebody else: “In your daily life, do you prefer to take decisions or to follow instructions? What do you prefer, to do it yourself or to have it done by somebody else?”
1068
1069# Instruction
1070Just do it: Cut your Nikes and change them into Nike Air.
1071
1072Do something that is: visually striking, socially radical, conceptually and contextually sensitive, sustainable, in the public domain (outside of art venues), and hurts no living thing—something that will change the world. Good luck!
1073
1074# Do it
1075How and what do we let the art museums do?
1076During the period of the exhibition, the employees of the art museum will be asked to remove all artefacts from the exhibition and place them in storage at the end of their working day. The exhibition space will then be empty, and they can leave as usual. The doors of the museum are to be wide open, with no need for any alarm system for the space. In the morning the next day, all artefacts will once again be moved back into the exhibition hall and the exhibition can then resume. These tasks are to be repeated all throughout the period of the exhibition.
1077
1078# Road of Champions
10791. Film a live broadcast of a sports event, for instance, the broadcast of the British Open for snooker;
10802. Show both the broadcast which you have filmed along with the original live broadcast concurrently, with additional subtitles (for example: XX plays the part of Hundley, XX plays the part of O’Sullivan, and XX plays the part of the referee).
1081
1082– Go to your kitchen. Grab, and if necessary disconnect, your coffeemaker.
1083– Put it on the table.
1084– Observe it for a while.
1085– Take it apart, not as if you would disassemble a machine but rather as if you would dissect an organism.
1086– Spread all parts and components on the table.
1087– Try to distinguish “cells” from “organs” and “systems”.
1088– Try to understand the interdependency between the different “organ systems” that, as a whole, allow the object to perform its task.
1089– Reconsinder the organism. Try to identify the “breeding grounds,” “multiplication rates,” “spreading patterns,” and “lifespan” of your coffeemaker.
1090– Link up these estimates with the context in which your coffeemaker emerged. Hereby consider labor costs, availability of energy and material, modes of production, communication tools, and social organization.
1091– Try to understand the interrelations between the appearance of your coffeemaker and its context.
1092– Go to your computer, Google “coffeemaker” and dig up three very different coffeemakers from a near or distant past.
1093– Again, try to understand the interrelations between the appearance of each object in relation to its context.
1094– Step back and reflect.
1095– Now, filter out the patterns, the recurring design principles that you identified as successful in the past and valuable for the future.
1096– Number and list them.
1097– Sketch up a new coffeemaker design in which you apply these principles within a contemporary context.
1098– Fax your list of key design principles as well as the resulting design proposal to +32 2 894 22 27.
1099– Piece your own coffeemaker together again and make yourself a coffee.
1100
1101# For Rent
1102INSTRUCTIONS
1103Make a canvas of 150 x 200 centimeters. Send it to a workshop of industrial signs to be painted in acrylic.
1104The words “FOR RENT” will be painted on the sign over a white background in black letters (use Black Arial Font). The size of the text will be proportional to the size of the canvas and must be painted by a sign painter (who may choose the text’s size).
1105During an exhibition, the painting will be for rent for artists and all visitors. It can be rented for a day or a month, while the exhibition is on. The rent fee will be US $20.00 per day.
1106Each time the painting is rented, a picture will be taken (it must not be digital) and it will occupy the painting’s place while rented.
1107The renter can use the painting for a presentation, hang it in his/her home, hide it, alter or intervene it, or make use of it in any other way.
1108It must be returned in the same conditions when rented or else, pay for a new one. The old one will be destroyed.
1109If you have any questions, call the artist at (+502) 819 5593 during working hours.
1110At the end of the exhibition, the museum must destroy the piece and send the negatives to the artist.
1111The money collected from the painting’s rent will be assigned for an artistic creation by another artist who will be selected by the organizers. His name should be given to the author.
1112
1113# Real Money Piece
1114NOTE: At beginning of this piece the jar contains bills of $5, $10, $20, about $585’s worth, coiled in two or three packets around the inside of the jar, unbound. The money comes from Rolfe Ricke from sale of painting “Switch.”
1115Offer to guests coffee, diet pepsi, bourbon, glass of half and half, ice water, grass, and money. Open jar of real money and offer it to guests like candy. (Apr 4, 69)
1116NOTE:
1117Apr 3 Offer money verbally to Steve Kaltenbach. He refuses.
1118Apr 4 Offer jar of money to Hannah Weiner. She takes (by chance) a $10, which she keeps. This is a “Chain Piece”, since Hannah must make a piece deciding what to do with the $10. This real money piece has become exceedingly interesting to me. This is a jarring piece. Apr 15 Offer jar to Ron Kleeman who takes out a $20. He wishes to put it back into jar but I talk him into keeping it.
1119Apr 17 Keith Sonnier refused, later screws lid very tightly back on.
1120Apr 27 Kaltenbach takes all the money out of the jar when I offer it, examines all the money & puts it all back in jar. Says he doesn’t need money now.
1121Apr 28 David Parson refused, laughing.
1122May 1 Warren C. Ingersoll refused. He got very upset about my “attitude towards money.”
1123May 4 Keith Sonnier refused, but said he would take money if he needed it which he might in the near future.
1124May 7 Dick Anderson barely glances at the money when I stick it under his nose and says “Oh no thanks, I intend to earn it on my own.”
1125May 8 Billy Bryant Copley didn’t take any but then it was sort of spoiled because I had told him about this piece on the phone & he had time to think about it he said.
1126May 10 Dan Graham puts $50 into the jar (to repay loan).
1127May 12 Abe Lubelski refrains, says he’s expecting a big check soon, income tax return (I think).
1128May 13 Paul Bianchini declines until he can “ask his wife”, then asks me why I have money in a brown jar. Simone Stern (who has a gallery in New Orleans) says she doesn’t care to have any now, “Too salty.”
1129May 15 Dan Graham takes $30 from jar (on loan).
1130May 16 Rolf & Uschi Ricke visit. Uschi takes out a bill ($20) & Rolf takes next bill ($5). I urge them to keep money, which they stash in their wallets after a while.
1131May 17 Offer money (only $25 left in jar) to Moose [Robert Morrised. note], he doesn’t take any.
1132More bills added to jar (ck for $500 from Paul Bianchini, sale of drawings, cashed & added May 17, 69) including $1 bills & one $100 bill. Write up piece for inclusion in Dwan Language show. (May 19, 69)
1133May 20 David Lee takes $1. [Note: Start new method of first removing all bills from jar, spreading them out & offer a free choice of various denominations: “deck of cards” method.
1134May 22 John Torreano doesn’t want any money (says he doesn’t need it now) but he takes the jar! Hooray!
1135May 23 Paula Davies and Marilyn Learner drop in unexpectedly. Neither take any lace but Paula says later she was “controlling herself.”
1136May 25 Alan Saret takes all the money for a minute but I must have had an expression of terror on my face because he puts it all back.
1137May 26, 69 Larry Weiner takes $1.
1138May 26 Dan visits to borrow $10. That makes $40 he owes to the “jar.”
1139May 28 Claire Copley doesn’t take any she seems insulted & offended that I offer it to her (in such a “vulgar” way?)
1140June 3 Brice Marden doesn’t need any, he says, & finds it amusing, laughing.
1141June 6 Alan Saret visits again & makes a Piece of the money which is now in two piles on the floor, each shaped similarly to a “footstep” by folding & molding to his hand. It looks good like that & I’m gonna leave it on the floor for a while.
1142June 16 Gary Bower doesn’t take any now but says he might come back for some in a few days.
1143June 17 Gary Stevens plays with money, re-stacks it, counts it?, doesn’t take any.
1144June 23 For some reason I just don’t feel like offering lace to Felix Roth.
1145June 24 Jake asks if he can take $10 to cover acid in advance & of course I give it to him. (July 1, 69- Jake ret’ns $10 because he cant score now).
1146June 30 Nor do I offer it to Romy McDonald & friend Marg from England, alto I tell them abt the piece.
1147July 1 Jake and/or Brian substitute a $1 bill for a $20 bill when I am not looking. I guess it was Brian, who asked me for money in retn for a drawing he left here to which I replied that I’d rather he steal it than ask me for it. Discover substitution after they leave.
1148July 9 Jason Crum refuses to take money.
1149July 9 Arthur Berman who is flat broke will only take 20 cents for his subway fare home.
1150
1151Buy a stadium. It can never be demolished. Thereafter, no one is allowed to enter regardless of the circumstances at any time.
1152
1153Be very serious.
1154Get fed up with that and frustrated to the point of boiling.
1155Kick the cat around (not the real cat).
1156Acknowledge that all the objects around you, the paraphernalia (I know how you spell it you cunts) of a life, pots and pans, food, books, are already unavoidably set in their meaning, inflexible.
1157Make some facile arrangements.
1158Cheer yourself up!
1159
1160# Do It: How To Make A Ricky Board
1161This board can be any size you want.
1162The proportions are dictated by four rows of five rickies.
1163There should be twenty rickies in all.
1164Each ricky is, as nearly as possible, exactly the same as every other ricky.
1165The ricky can be an object or a flat image.
1166The thing about the rickies is you will see them change before your eyes because you will give each ricky a different name.
1167The names will be printed or written under each ricky. Twenty different names in all.
1168You will be amazed at the different personalities that emerge depending on the names you give.
1169Here is a poem:
1170Four rows of five
1171Your rickies come alive
1172Twenty is plenty
1173It isn’t tricky
1174Just name each ricky
1175Even though they’re all the same
1176The change comes from the name
1177
1178# Instruction
1179Send a threat letter to yourself trying to hide your identity.
1180
1181# Feedback
1182Step 1: we build(t) walls inside or outsider?
1183Step 2: projection screens made out of
1184– Leftovers of Othello Club (with Emil Michael Klein, Kaspar Müller, Emanuel Rossetti, me)
1185– Cutouts of The projection screen we built for AP News
1186Cutoutleftovers from a recent project by a fashiondesigner who used drawings of mine to make fabrics based on them-taken out of and to a world where surface becomes meaning is people, they are the other side of the framing that keeps them together and from falling apart, the dresses. therefore if what was cut out would be people, these are the not-people. the not-people are being watched or they play in front of by projectors who show them who they really are. themselves. they are being animated in a play with videocameras taped on projectors recorded by videocameras. feedback.
1187The main reference for the show were and are (apart from other shows) the recent solo exhibitions by Kaspar Müller and Emanuel Rossetti, two artists who’s work and friendship i truly admire. As a cinema-director I decided to not make any new work but to animate what is surrounding me: friends, art, people, business, love, a film made for Zurich, everything is self-illuminating, anger, You are all a part of it.
1188During the work on the projection screens i made one more work, a faux - collaboration between two gallery artists, a plexiglass manequin stuffed with flesh colored chewing gums and butterfly tattoos we decided not to show it.
1189It’s not like Thomas Sauter and Pamela Rosenkranz hang out in bars together too often even though the gallery’s website suggests this.
1190Heshe is another player who is in-between, maybe he is a not-people or maybe he was tortured to death thats why his organs are missing. Heshe is a gallery’s mascot, a logo or a representative director. take value for addvalue. Real Beauty comes from Within (International).
1191
1192# Instruction
119382% Reduction of an Action that Probably Never Took Place Before
11941 Look concentrated at the world and look for a possible action that probably never took place before.
11952 Reduce the needed materials for this action to 82%.
11963 Do it.
1197
1198# Instruction
1199tear out this page while
1200listening attentively.
1201listen and crumple the
1202page into a small ball.
1203you can repeat these
1204sounds with other
1205pages. save the ball(s).
1206discard the book.
1207
1208# Proposal for a Self-Design
1209Excerpt from a comment on “Proposal for a Self-Design” published during the same years:
1210“After putting the “Day-Night” sofa and other similar attempts in production, I’m in a state of deep depression because I’m verifying the naïveté of a low-cost approach to an object of good design at low prices. The result is a total failure and the public to whom these objects are directed refuses them because they don’t recognize them as part of the cultural system.
1211How is it possible to change this state of affairs is the question I ask myself. How is it possible to activate the deconditioning of the form as value and not as strictly correspondent to the contents? The only way I know, according to my personal experience, is that this is possible when the critical reflection is based on the practice of the work, involving the user of a commodity in the design and realization of the designed object. Only if we materially touch the various contradictions of this work can we hypothesize our liberation from such deep conditioning. But it is obvious that we can’t expect this effort to happen when we don’t have the instruments of production and, above all, the technical competence and the technical culture that can be obtained only in quite a long time. On the other hand, if it were possible, whoever needs a table, for example, could learn the fundamental things of building one, such as the fact that the legs should line up with the plane of support, so that at the moment of purchase, one could evaluate the models that are coherently resolved in their technical implications and quality of work within the wide panorama of purchasable objects without being affected by questions of style and taste.
1212As far as the instruments of production are concerned, the question was not to select what is available but what belongs to our collective heritage already. Almost everyone has a hammer at home, and almost everyone has driven a nail at least once. As for materials, a wooden table is still the easiest to acquire.
1213As for technical culture, things are a bit more difficult. There is an example of technical culture theoretically in the public domain even though it is adopted just by one working category: the carpenters—not the joiners. Such technique is reduced to the minimum terms and in practice is never taught. It’s about making scaffoldings, workshop tables or else, based on very simple principles that can be considered as the fundamental principles of engineering and architecture: The beam and the pillar. The junction between the beam and the pillar takes place through the driving, and since this process is a kind of joint that doesn’t guarantee a complete blockage, it is necessary to support the joint with a nailed diagonal element. The result is a construction largely based on a triangle that, once more, is one of the basic principles of engineering. A triangle is non-deformable. Since the carpenters’ economy of work implies the total recovery of the materials employed for a certain construction, they are used to keep elements of diagonal stiffening at their minimum. As I said, it’s an easily accessible technique. Once a beam is nailed between two pillars, all is left to do is adding transversal elements to give solidity to the structure. Using these two options as starting point—tool and technique—I tried with the assistance of my young collaborators to realize a series of objects (tables, benches, chairs, beds) with this technique, in the sense that the objects weren’t designed in advance but, through a series of pothooks, we gave shape to the objects by attaching the minimum number of pothooks necessary. We also decided not to be concerned about the quality of the solution in the sense that the realized model would have as its only parameter of judgment its solidity and not the economy of the employed materials or lucubration of formal relationships.
1214These models were collected in a small book* and the book was distributed in different forms. The definitive form was to send it for free to anyone who requested it. My proposal was that people would have been solicited from the suggested examples to realize what they needed, including further typologies originally not contemplated, and to realize them in a free form by assuming the suggested example simply as a source of motivation and not as a model to repeat.
1215The proposal was successful and I received thousands of requests, to the point that the book had to be reprinted. But once more the hypothesis of the work failed because in 99% of the cases the proposal wasn’t understood or perceived in the right way. Obviously my proposal aimed to be a practical critical exercise. Obviously the objects should be produced according to the most advanced technologies. This is the only possible way to have low-cost objects of good quality.
1216Obviously the models proposed here were absolutely non-economical from this point of view. Any table correctly produced with a machine, for example, needs no more than 30% of the material employed for the proposed models with far superior results of consistency and resistance.
1217Obviously the wood has to be employed only when is more economical than other materials. The assumption of wood is not the proposition of a traditionally old material in response to more modern materials such as plastic, which is more suitable to real standards of production. Actually from this point of view all the proposals of using natural materials such as wood tend to be reactionary.
1218I was aware of these things and I tried to tell them. It was simply about using this material and this technique as the only possible way to realize this designing exercise.
1219Another objection was that I was somehow supporting the DIY phenomenon, but obviously a hobby is always reductive— it’s always a small-bourgeois metaphor for the acquisition of technical cultures. As a matter of fact most of the people required the book for the following reasons:
1220—To satisfy the need of a taste that was about to start at the time and to which I somehow contributed: the “poor” wooden, pseudo-handcrafted, naïve, back-tonature object.
1221—To solve real decorating problems of young students that simply wanted to do what they needed at the lowest possible cost
1222—To decorate a country house, or a second house in rustic style.
1223I think only a small portion, about 1 or 2% of them, understood the meaning of this experiment.
1224
1225# Instruction
1226Find a ravine or a cliff and photograph it either from the bottom or from the top.
1227Find a young man to play a flute. Do not ask him to play famous pieces, but to play music that a shepherd would.
1228Print a photo of the landscape (small format) and display it with the young man in a room with open windows.
1229The title of the photograph will be the number of kilometers from the side of the room to the Ozoud Falls in Morocco.
1230Variables
1231If the young man is so inclined, and there are no adverse effects to his health, he should be bare-chested.
1232Send a copy of the ravine to: eva.marisaldi@gmail.com for the study of the variants of vertigo in the different geographies.
1233
1234# A New Concept in Mouse-Clicking: CLICK IN THE SPACE!
1235Virtual Reality is extremely fashionable these days. Now to be frank, to obtain something manageable in that field you need a lot of hardware and know-how. It occurred to me that, for an average user, there is an acceptable approximation to Virtuality, namely Reality, otherwise known as Outside World. There is a fantastic software known as HyperStudio (By Roger Wagner productions, in San Diego) that among many other features allows you and me to explore Reality as if it were Virtual. When, through its magic, I open a video window on my screen, connected to an Hi-8 Handycam, I grasp a 3-D image, perhaps not as flashy and glittering as the usual VR cameo (in those ancient times, God himself couldn’t afford Photoshop), but reasonably three-dimensional. Now what if we decide to treat this 3-D landscape as we do a 2-D screen, with buttons and tricks and all? All it requires is 1. to set the camera at a given place (that can be indicated on a preparatory screen in the program itself) 2. to make a reference image of the proper frame (a snapshot with the video monitor will do—widest angle recommended) 3. to select a graphic detail from that frame, isolate it by crashing the rest, and paste it on the empty viewing frame with the “add a graphic item” function. So the next time you set the camera, you just move it to make this detail-within-the-frame coincide with the same element in the real world, and the scope of your lens will be identical to the original setting, I suppose now you’ve got it: you can fill the blank screen with as many buttons as you wish, each one opening a new card with the enlarging comments. Quicktime movies related to that part of the image etc.—no limit but your imagination, as they say in the software blurbs. And once the camera is on, you’ll see these items popping out as they usually do from a classical card, but aiming at reality—clicking in the space.
1236
1237Instructions for a robbery:
1238Shoot a video tape of your labour … (as is common with first thefts, the labour will be long and the tape itself will become boring).
1239So shoot stills from the tape and make a slide show of the labour that is still also clear and almost painful in its openness.
1240Be unaware there is ownership of the spectrum, the alphabet and all popular formats. Reload, camouflage, dissolve.
1241
1242Spend the summer digging a continuous narrow trench. Spring, 1968
1243Pile dirt on your desk. Spring, 1969
1244In your backyard paint the dirt silver. Spring, 1969
1245Place dirt in a box or bucket. Paint entire object silver. Spring, 1969
1246Invite friends over. Cook them a pot of Vaseline petroleum jelly. Spring, 1971
1247Pour equal amounts of water and oil into a bottle, then stir. Spring, 1971
1248Buy a minimum of ten new packaged dress shirts.
1249Display the shirts on the floor. Place them side by side. Fall, 1971
1250Use your head as a paint brush. Fall, 1972
1251Use your penis as a paint brush. Fall, 1972
1252Paint all windows, doors and mirrors in your house black. Fall, 1975
1253Consider public masturbation as a true alternative.
1254Spring, 1976
1255
1256# WHITE SNOW SNOW WHITE COOKBOOK
1257Red apron. White Snow making stew, dwarf sausage stew. Cooking show. Baking pie, shitting in the pie. Put pie in the oven. Eating what she’s made. Sharing pie with the dwarves and the viewers. Sitting on food. Food in the face. Food fights. Food up the ass. Food on the dick. Pie is the pussy? Pie in the pussy?
1258Gravy Stew
1259Ingredients: Gravy, carrots chopped 10 lb chopped other long vegetables, dwarf dick sausage, potato, hot dog chopped, hot dogs, raw meat, piss, ketchup, bring to a boil in a big pot, salt and pepper.
1260Shit Pie
1261White Snow makes piecrust, climbs up on table, counter, and shits in the pie crust, the pie could already have apples in it. White Snow slices apples, roasted pig or roasted chicken or buy KFC WITH POTATOES or White Snow roast a chicken, mashed potatoes, peeling potatoes. Dopey is peeling potatoes.
1262
1263# Study for time
1264Study for time
1265At a beach or in the desert, dig a hole in the sand (the size you like), sit down and wait, silently, until the winds wraps it up completely.
1266Study for time
1267In any place, close your eyes and establish a defined area of the sounds your ears can listen.
1268Study for time
1269After 12 hours of fasting, drink 1/2 liter of cold water from a silver jug.
1270
1271# Instruction
1272Do it …
1273move your finger
1274up and down for
1275one minute every morning
1276
1277# Untitled (Signatures)
1278When we are born, we receive a last name and a first name that will characterize us from the beginning to the end of our life.
1279Our signature is thus important, as it reveals and asserts our personality. It is a sign, it can show a strong-willed personality (be strong or illegible). Moreover, in the history of art, the artist’s signature always represented the completion of his work.
1280Try, like me, to write all of your possible signatures on several sheets of paper. Frame them. You will be surprised by the results and by the comments of your friends!
1281I would like to know how women feel who have changed their names when they remarried
1282
1283Do it!
1284
1285# Finding One’s Place
12861. Ask partner or friend to give you a book that she or he is currently reading.
12872. Take bookmark and move it to another place in the book. If there is no bookmark, insert one of your own.
12883. Place book on bookshelf for ten years.
12894. Return book to partner or friend. She or he is to resume reading from the place indicated by the bookmark.
1290
1291# Cannon
1292LOOK INSIDE THE TUBE AND TURN ON THE “CANNON” (the switch – is located to the left of the box)
1293
1294# Piece 68
12951) Collect as many kinds of combustible material as are available in the city where the exhibition takes place: coal, oil, wood, grass, branches, magnesium, etc. Ask a curator to determine any other materials that I have not listed.
12962) Divide the number of days of the exhibition, minus one, by the number of materials.
12973) Place one of the materials anywhere you want within the designated space (inside or outside of the museum). Add another material the next day. Each material should be placed freely in the space—it should not be inside a container—if necessary, protect the floor of the museum with plastic from the beginning.
12984) The last day of the exhibition, remove all the materials (if they have been placed inside a museum), take them to a secure location outside of the museum, and light them on fire.
1299
1300# Do it: Start working
13011. First, listen to the news on the radio.
13022. Prepare a cup of tea and drink it standing at the window. You see people walking in the street, cars, shops, it’s fascinating.
13033. Wash the cup because you hate starting to work when there’s something dirty in the sink.
13044. Make one or two phone calls.
13055. Clean your table.
13066. Go to the post office to get a registered letter. Wait half an hour.
13077. Take cash from an automat.
13088. Buy a magazine.
13099. When you’re back home, have a quick look at it. Read the main articles.
131010. Drink a glass of water, eat a plum.
131111. The phone rings, answer and talk.
131212. You suddenly remember that you need to make a call.
131313. The mobile rings. It’s a friend: chat.
131414. Check your emails again, in case you received any new ones.
131515. It’s almost lunchtime: you start feeling hungry. You need strength before you start working, so go to the market and shop.
1316
1317home do it!
1318
1319# How To Run for President …
1320HOW TO RUN FOR PRESIDENT OF THE UNITED STATES OF AMERICA
1321You really have to be a native-born American citizen to do this and at least 40 years old. Once the campaign starts to heat up, out of the corner of your eye, watch and see what the other candidates are doing. As you’re walking your dog, opening your mailbox, as you’re making love, as you’re slowly waking up in the morning, think about what the other candidates are doing. Try to think of their collective statements about what’s right and what’s wrong with America as a pool. Choose your moment carefully and jump in. Jump when you know that the only thing that would make sense this year would be if you ran for President of the United States. You know, they really can’t stop you. In except for maybe two states, Nevada being one, any citizen can be a written-in candidate. In New York, for instance, you simply need 33 of your friends to sign affidavits saying that if you won they would go to the electoral college for you. You can just call them from home, and they probably wouldn’t mind bringing the affidavits over. They can get them notarized by a travel agent. No big deal. Soon people will be wanting a platform and that hinges on what was going on at the moment you jumped in. In 1992, I was moved by the realization that the candidates were not writing their own speeches and I knew that I would want to do that. They were not saying what was on their minds and I knew I would want to do that as well. This year I would probably not say what was on my mind so you can see how from year to year a woman’s candidacy can change. It’s a flexible thing. This year I would probably stay out of America during the entire campaign period and court the votes of all the Americans who are not living there. I would try and represent their needs. Maybe they would have very few needs, their main one being to not be in America, which would be already be fulfilled. I would have an easy time representing all those absent people. Our slogan could be, “We are not there.”
1322Though frankly, I think everyone in America should run this year, as a pack, in utter silence. When it’s all over they should eat a big meal. Mind if I smoke?
1323
1324# The Instructions
1325Do it!
1326“it”: what you have to do,
1327What is up to you to do,
1328What falls to you
1329“it”: undetermined, undeterminable,
1330Which will only exist when you have done it
1331Do it, do that,
1332That thing no-one expects,
1333Not even you,
1334That improbable thing
1335Do what stems from your doing
1336And yet is not done by you
1337Nor produced
1338But stems from well before your doing
1339From well before you
1340Do what escapes you
1341That is not yours
1342And that you owe
1343
1344# Untitled
1345Remember places you have visited and where you have spent some time, places where you had to make your everyday arrangements, constantly socialize with local people, where you may have been forced to change your habits in order to make the communication seem more natural. While walking, you slowly accustomed to otherwise unusual landscape. Your body was exposed to different weather conditions. Remember the location of these places on the map by observing it from the point where you live now. Use abstract thinking and if you wish—an exact mathematical calculation to track down a geographical center of places you have visited.
1346Would you like to travel there?
1347
1348# Body Pressure
1349Body Pressure
1350Press as much of the front surface of your body (palms in or out, left or right cheek) against the wall as possible. Press very hard and concentrate. Form an image of yourself (suppose you had just stepped forward) on the opposite side of the wall pressing back against the wall very hard. Press very hard and concentrate on the image pressing very hard. (the image of pressing very hard) press your front surface and back surface toward each other and begin to ignore or block the thickness of the wall. (remove the wall) Think how various parts of your body press against the wall; which parts touch and which do not. Consider the parts of your back which press against the wall; press hard and feel how the front and back of your body press together. Concentrate on the tension in the muscles, pain where bones meet, fleshy deformations that occur under pressure; consider body hair, perspiration, odors (smells). This may become a very erotic exercise.
1351
1352# Watching birds fly, the game of the three points
1353Whenever you see a group of birds flying, choose three of them to follow. You will realize they make a triangle, but this triangle is always moving, spinning, stretching, flipping, getting smaller and bigger. Sometimes another bird jumps inside of the empty triangle changing places with one of them, which is going away, bringing us another triangle to follow. (flying insects are pretty good too, a bit more nervous though)
1354
1355# Gastronomic Translations For do it
1356Find two chefs and ask them to prepare a dish or a several-course meal using all and only the ingredients on this shopping list found in a supermarket in Frankfurt in 2002. Organize an event or dinner, invite lots of your friends, and have both chefs serve their food simultaneously. Make sure that the chefs don’t know about what the other is doing.
1357
1358# LISTEN
1359The impetus was twofold. The simple clear meaning of the word, to pay attention aurally, and its clean visual shape— LISTEN—when capitalized. It was also its imperative meaning—partly I must admit, as a private joke between myself and my then current lover, a French-Bulgarian girl, who used to shout it before she began to throw things at me when she was angry.
1360It was my first independent work as an artist in 1966. As a percussionist I had been directly involved in the gradual insertion of everyday sound into the concert hall, from Russolo through Varese and finally to Cage who brought live street sounds directly into the hall. I saw these activities as a way of giving aesthetic credence to these sounds—something I was all for—but I began to question the effectiveness of the method. Most members of the audience seemed more impressed with the scandal than the sounds, and few were able to carry the experience over to a new perspective on the sounds of their daily lives. I became interested in going a step further. Why limit listening to the concert hall? Instead of bringing these sounds into the hall, why not simply take the audience outside—a demonstration in situ?
1361The first performance was for a small group of invited friends. I asked them to meet me on the corner of Avenue D and West 14th Street in Manhattan. I rubberstamped LISTEN on each person’s hand and began walking with them down 14th Street towards the East River. At that point the street bisects a power plant and, as I had noticed previously, one hears some spectacularly massive rumbling. We continued, crossing the highway and walking along the sound of its tire wash, down river for a few blocks, re-crossing over a pedestrian bridge, passing through the Puerto Rican street life of the lower east side to my studio, where I performed some percussion pieces for them.
1362After a while I began to do these works as “Lecture Demonstrations”; the rubber stamp was the lecture and the walk the demonstration. I would ask the audience at a concert or lecture to collect outside the hall, stamp their hands and lead them through their everyday environment. Saying nothing, I would simply concentrate on listening, and start walking. At first, they would be a little embarrassed, of course, but the focus was generally contagious. The group would proceed silently, and by the time we returned to the hall many had found a new way to listen for themselves.
1363There were other manifestations of the idea. I organized “field-trips” to places which were generally inaccessible and had sounds which could never be captured on a recording. I also did some versions as publications. One of these was a poster with a view looking up from under the Brooklyn Bridge, with the word LISTEN stamped in large letters on the underside of the bridge. It came from a long fascination of mine with sounds of traffic moving across that bridge—the rich sound texture formed from hundreds of tires rolling over the open grating of the roadbed, each with a different speed and tread.
1364The developers of the South Street seaport project, which is near the bridge, always felt that its sound would limit real estate values in the area. In the late eighties they succeeded in convincing the city to pave over the open grating with asphalt. Afterwards, they discovered that this tremendous added weight caused serious structural problems in the bridge. There is still a sound, but it is not as interesting as it was before the repaving.
1365The last work in the series was a do-it-yourself version. I published a postcard in the form of a decal with the word outlined in open letters, to be placed in locations selected by its recipients.
1366
1367# Instructions To Make A Good Painting
1368Arrange all your paint tubes according their size.
1369Arrange all your brushes in alphabetical order.
1370Turn your prepared canvas 180°.
1371Choose a color and a brush and make a mark.
1372Try not to be creative.
1373Paint.
1374Try to make the greatest painting that ever has been painted.
1375Forget it.
1376Sit down.
1377(chorus)
1378Find the part/s that you don’t like.
1379Paint it/them white.
1380Let it dry.
1381Paint more.
1382repeat chorus
1383
1384Take small emergency exit hammer from any public bus and attach it next to your office window.
1385Please show your solidarity with recent world events and during one minute don’t interrupt the activity you are concentrated on at this moment.
1386Take your one-year-old child to the exhibition and teach it to walk there until it will like it. Then continue next day at the same time as long as it will like it. Then continue everyday and as many days as it will like it.
1387
1388# Wish Piece
1389y.o. ’96
1390Make a wish.
1391Write it down on a piece of paper.
1392Fold it and tie it around a branch of a Wish Tree.
1393Ask your friends to do the same.
1394Keep wishing.
1395Until the branches are covered with wishes.
1396
1397Make silent music for violin—it could be a couple of violins or more. Use any material or objects.
1398A phrase, a note, a piece of music, or your inside music can arouse you or give you the rhythm. (Don’t use the violin as an object.)
1399
1400# Telephone Conversations in a Museum
1401Material:
1402A Radio Shack “Telephone Recording Control” device (43-228A), which translates a telephone’s electronic signal into an audio signal.
1403Instruction:
1404Place the device on the museum director’s telephone. This will allow you to accurately listen to all the telephone calls made, which will be simultaneously replayed through a conventional sound system.
1405How to use:
14061. Unplug the telephone cord from the wall jack and plug it into the Radio Shack device’s control.
14072. Insert the device’s output into the wall jack.
14083. Connect the cable with the “mini plug” output into the sound system’s microphone. The remaining cable will not be used.
14094. Program the sound system under the “med/aux” function to play the audio signal.
1410Set Up:
14111. Determine the location of the sound system that will play the conversations within the exhibition space and adjust the volume to an audible level.
14122. Add an extension cord to the cable with the “mini plug” output, and plug it into the sound system.
1413
1414# Instructions For Photography, Live Performance Art, And A Photo-Object
1415Materials:
1416A manual 35mm camera with a 50mm lens, a roll of 24-exposure 35mm color film, a light meter, a tripod, and strobe lighting (both optional)
1417Performance:
1418Create a ten minute live solo performance in which you engage both the audience and the camera within an intimate museum or commercial gallery.
1419Photography:
1420Hire an experienced assistant photographer to expose the 24 frames of film. Prior to the performance, give him/her clear instructions on how to photograph the performance (composition, camera placement/movement, “decisive moments,” etc.). Use a Polaroid or a digital camera to preview light-meter settings and compositions.
1421Post-production:
1422Hire a professional film lab to process the film and print a contact sheet. Hire a professional to scan and color correct (but do not crop) each frame of the film; enlarge and print each frame 16 x 20 inches on archival pigment paper; mount the photographs. Hire a custom frame maker.
1423Photo-object:
1424Edition of 5 photographs plus 2 AP, each 16 x 20 inches
1425Install the photographs for an exhibition in a museum or a commercial gallery.
1426Repeat.
1427
1428# Antique Rome is everybody’s memory
1429ANTIQUE ROME IS EVERYBODY’S MEMORY
1430OCT. 95 MESSAGE FROM HANS OBRIST
1431“DO IT” PROJECT HOME PERFORMANCE
1432WANTS CONTRIBUTION FROM NAM JUNE PAIK
1433NAM JUNE OK DEADLINE NOV.20
1434HE WANTS WHAT INSTRUCTIONS FOR
1435DO IT YOURSELF PERFORMANCE
1436PIECE
1437I LIKE YOUR POEM IN INTERNET
1438FLUXUS ON LINE
1439GO TO ONE OF THOSE COMPUTER
1440RESTAURANTS
1441FIND YOUR POEM ASK PAUL FOR #
1442I DIDN’T DO IT FOR A MONTH AND THEN ANOTHER
1443THINK OF BEST EXCUSE NO EXCUSE OH DEAR
1444NOV. 95 HANS ULRICH CALLS MANY TIMES
1445DEC. 95 HANS EXTENDS DEAD LINE
1446I’VE NEVER BEEN TO THOSE COMPUTER COFFEE SHOPS AIYEEEEE
1447TAXI DRIVER IDENTIFIED AS COMPUTER MAN GIVES ME SEVERAL
1448LOCATIONS
1449HE GOES TO THEM FOR HOURS
1450COMPUTER HAS SIMILAR ATTRACTION
1451AS MIDDLE OF THE NIGHT TV
1452OPTIMISTIC VIEW
1453SOMEDAY COUNTRIES WILL DISAPPEAR
1454MAYBE 50YRS.
1455
1456Waiting for a friend
1457Without any appointment, you stand in a specific place, waiting for a friend to come.
1458If your friend asks you “How did you know I’d be here?” Tell him “I really didn’t know but I’ve been expecting you for a long time!”
1459Waiting until everyone sleeps
1460Go down to a street at night. Find a building you really like. Keep standing and waiting there until everyone sleeps.
1461
1462Apply glitter on your eyes and glabella and roll your eyes up to see the starry sky.
1463
1464# Good Blood
1465Two people sit down in a chair in front of each other.
1466The two will be seated holding a cube of red ice (they should make the cube with red ink).
1467At a certain point, the ice of one of them will have melted before the other. That person will be the good blood.
1468
1469# Portable Garden
1470Use a green color pencil.
1471There’s a garden in your pocket.
1472There’s a garden between your fingers.
1473There’s a garden behind your ear.
1474There’s a garden at your feet.
1475How many rivers fit in a blue color pencil?
1476
1477# The Human Clock
1478Are you sure that clocks give you your time?
1479How do you know time is real if you don’t share it?
1480Share your time.
1481Understand your timing in relation to others.
1482Become a clock with the help of your shadow.
1483Your shadow is a skillful measurement man, but a slippery fellow afraid of the dark. Catch your shadow every time with the help of a tree branch (or some colored chalk) and a partner.
1484Simply expose the shadow to the light of day and trace its silhouette on the ground (or on the floor). To do this, stand in a given point and ask your friend to outline the shadow on the ground. Each position of the shadow gives you your time of day.
1485Write down the time on the floor, beside the borderline. Think: how will you mark this moment of the day? How will you remember it?
1486Go for a walk and come back to the same place; ask your friend to draw your shadow again. Take down the time once more. How will you remember the time spent? Think: how did you share it?
1487Help your partner with his own human clock; offer to make his marks on the ground. Take turns drawing each other’s figure and then share your time perception.
1488Take your time.
1489
1490# Body Ruler
1491Why do rulers have 30 centimeters? What is 30 centimeters long? Who made those rules?
1492If you see the world through your own eyes, appraise the world with your body.
1493Measure both sides of your desk with your thumbs, multiply the numbers to find your work area.
1494Quantify the perimeter of your classroom in open arms (measurement that equals your height, try it!). Calculate the shared mind space.
1495Count the steps from your house to school, find the stretching distance of your ideas.
1496As the operation becomes longer, words become shorter.
1497Your body is a ruler.
1498
1499# Found Objects
1500What do you know about your past?
1501What do you think your town looked like 100 years ago?
1502What object, plant, or place reminds you of the people that lived in your town?
1503What things can a town or people leave behind? (Traces, artifacts/ objects, architecture, houses.)
1504Make a portable Museum of your recent history.
1505Go outside and pick as many objects as attract you. Come back inside and organize them either by shape, size, and color, or used and new. What other categories can you think of?
1506We classify objects to understand the world we live in. Objects reflect the nature and practices of our time and space: the atmospheres that are built through our exchanges. Objects may represent an idea, fear, thought, hope of the people who made it (or kept it), and their changes through time.
1507How would you classify the group of objects you gathered?
1508Which represent you and which talk about your life with others?
1509Please, name your portable Museum.
1510
1511# Pillow Book I
1512Look for the drawings left on your pillow when you wake up in the morning (or after a nap). Trace your dreams.
1513
1514# Mappa Mundi
1515Walk around in self-made paper socks
1516Take them off
1517And observe the physical map of your world
1518
1519# Topology
1520On a sheet of paper, draw an equilateral triangle with the compass
1521Cut out the triangle with the scissors
1522Fold the three corners of the triangle to a center point
1523You have transformed the equilateral triangle into a hexagon
1524The hexagon is used in nature as an efficient paving shape (tree bark and honeycomb)
1525Roll your hexagon into a ball
1526You just transformed a triangle into a sphere …
1527Now, what is topology?
1528
1529What about a game, like the Game Of Twenty Questions. You think of an object and the other players ask you a series of no more than twenty questions.
1530You can only answer by saying yes or no. The goal of the game is to guess what someone was thinking about with the help of no more than twenty hints. Now, let’s imagine a slightly different version of that same game. You think about nothing and the other players ask you questions. In the beginning, you answer the questions arbitrarily.
1531Later you have to be careful not to contradict yourself when you answer yes or no. For example, you can’t say its big in the beginning and then later say its small. You have to follow the logic of your answers. After answering twenty questions, you’ll see in your head an object that you never imagined before. It will be something you’d never thought of.
1532or a light, synchronize all the lamps in your apartment to a musical tune. The music is not audible, but all the bulbs blink to its beat.
1533or a painting, paint a building a color that reacts to a certain wavelength of light so that at a specific moment of the day or during a specific time of the year, the building or a part of the building will start to glimmer. This is the same physical effect that makes people give strange names to elements of a natural landscape: the golden mountain, the burning bush.
1534or a flavour, like gas-flavoured chewing gum.
1535or an event, a day time firework display, black fireworks, with only black smoke and black explosions on a nice sunny afternoon.
1536
1537# Radiohead
1538Find the address of the closest amateur radio society, contact them, enroll in a course. After few months of learning and after taking the 3rd category/class exam, you will become a radioamateur. Continue learning and contact the hardware section. Construct your own SSB transmitter and start transmitting in the HF spectrum. Do not disclose this to your radioamateur colleagues, because they will not be very satisfied with your behavior. Contact groups, that you deem in need of your knowledge and transmitting power and act in accordance with your personal beliefs.
1539helpline: marxx@ljudmila.org
1540
1541# Throw A Party
1542A party of any kind.
1543A party of any size.
1544Make sure you provide your guests with:
1545– Fine entertainment
1546– Drinks
1547– Good music
1548– Paper confetti
1549When the party is over, sweep all of the confetti to one side of the space, evenly distributing confetti along the entire length of the wall where it meets the floor.
1550
1551# Instructions
1552Is there something you believe is certainly not art?
1553If so, please send us an image of it, or a description.
1554Cesare Pietroiusti
1555c/o Independent Curators
1556International (ICI)
1557401 Broadway, Suite 1620
1558New York, NY 10013
1559
1560# The Humming Room
1561IN ORDER TO ENTER THE ROOM, YOU MUST HUM A TUNE. ANY TUNE WILL DO. BEGIN HUMMING AS YOU APPROACH THE GUARD.
1562
1563# Sculpture for Strolling
1564After reading the daily newspaper, immerse it in water then form a small sphere by compressing the wet newspaper with one’s hands.
1565Enlarge the sphere by adding new daily newspapers soaked in water. Continue this procedure until the sphere is a meter in diameter.
1566When well dried out, roll the newspaper sphere outside in the streets and the squares as a “sculpture for strolling.”
1567Every public institution that realizes Michelangelo Pistoletto’s “Sculpture for Strolling” in the do it context, in which daily newspapers appear on the surface, can use the sphere permanently after the exhibition. The results, and the documents in all forms of use and interaction, must be sent to Michelangelo Pistoletto, via Serralunga 27 13900 BIELLA, Italia, Tel 0039 015 26324.
1568This right, extending beyond the limited time of the exhibition is bestowed by the artist upon payment of U.S. $3,000.00 in the following account: # 18298, Banca Brignone, Via Alfieri 17, 10121 Torino, (I), Bank Code 03060/01000.
1569
1570# Instruction
1571How to blow away a wall:
1572It is easy.
1573Close your eyes, concentrate, and blow.
1574
1575# Gilding the lily part II
1576RECIPE FOR BUCKY FULLER
1577Skin but do not stone a peach. Brush lightly with a weak mixture of clear golden syrup (corn syrup) or melted brown sugar and brandy. Heat more brandy in a soupspoon. Ignite, and pour over the peach. Eat immediately.
1578A particular favorite of Bucky’s.
1579
1580# The Robin Hood Of Wisdom
1581GO to your nearest public library
1582What does knowledge taste like?
1583The unsalted white of an egg.
1584It asks for the garnish of betrayal.
1585PREPARE yourself.
1586Before setting off.
1587Select a passage from a book that is dear to you.
1588Write, or paint it. With elegance, flair and affection on a quality piece of paper.
1589The question remains: how to share that fullness of hunger that foreboding that foresight.
1590SELECT a book, at random, from the library’s shelves. (Make sure that it is about something completely unrelated to the contents of the passage you have selected)
1591You may have chose to write or print a passage from a story in the Arabian Nights (Mardrus & Mathers), and the book in your hand could be A Treatise on Heat (Saha & Srivastava). Or vice versa.
1592INSERT the paper bearing your selected passage, between the pages of this book.
1593REPLACE the book in its place on the shelf, carefully.
1594REPEAT the procedure as often as possible.
1595INFECT knowledge with wisdom.
1596
1597# DO IT YOURSELF (for children)
1598Imagine and invent five titles of books that you would like all children to read and enjoy.
1599Remember, these books don’t exist.
1600No one has written them, yet.
1601By making up names for them, you are helping them appear in the world.
1602Why should children alone enjoy the pleasures of make believe books?
1603Now make up five book titles for friends who are grownups.
1604
1605YES NO
1606Layers of original and appropriated instructions.
1607Stratum 1
1608Make a grid or find a grid. Do one thing or another thing inside each unit.
1609Stratum 1.1
1610Draw a uniform grid of 200 x 200 squares within 1 square meter. Open a telephone directory and read the numbers in order. For each square, starting in the upper-left corner, fill with blue paint if the number is even, fill with red paint if the number is odd.
1611Stratum 1.2
1612Draw a grid of 40 x 25 units. Find a coin and define one side as A and the other as B. For each square, starting in the upper-left corner, flip the coin. If it lands with side A up, draw a line from the lower left to the upper right. If side B lands up, draw a line from the upper left to the lower right.
1613Stratum 1.2.1
161410 PRINT CHR$(205.5+RND(1)); : GOTO 10
1615Stratum 1.2.2
1616size(3200, 2000);
1617background(255);
1618for (int y = 0; y < height; y += 80) {
1619  for (int x = 0; x < width; x += 80) {
1620    if (random(1) > 0.5) {
1621      line(x, y, x + 80, y + 80);
1622    } else {
1623      line(x, y + 80, x + 80, y);
1624    }
1625  }
1626}
1627
1628Using a bright green highlighter marker, color over the first diagram of vertical bands. Using a bright magenta highlighter, color over the second diagram of horizontal bands. Stare at these diagrams for 1 minute.
1629Now look at the third diagram and you will perceive halos of color. This effect –the McCollough Effect—is quite uncanny. It’s not a typical afterimage since color is perceivable a day, or even weeks later.
1630Look at only the third diagram in a few days and see if the color effect is still perceptible. How long will this last?
1631
1632# Instruction
1633Enlarge to a scale of 13:1 and sew together. Please use bright color for lining.
1634
1635# Compatibility test for couples
1636Ingredients
16371 table
16381 blender
1639large, milkshake glasses
1640cutting board
1641large basket with as many kinds of fruits
1642and vegetables as possible.
1643Instructions
16441) Select the fruit or vegetable that you identify with the most
16452) Select the fruit or vegetable that is more similar to your partner
16463) Mix a shake with it, and judge by its flavor the compatibility with your partner.
1647
1648# Neighbor piece
1649— Read newspaper
1650— Spring from chair and let the opened newspaper lie on the table
1651— Run for your life around your best friend’s house
1652— Whistle and throw a stone up against her window
1653— Wait till she opens the window
1654— Shout up to her that our common idol has died
1655— Cry together
1656
1657Pairing A:
16581. Apologize to everyone you’ve wronged.
16592. Forgive everyone who has wronged you.
1660Pairing B:
16611. Make your own TV commercial for a real product that you regularly use and like.
16622. Write and record a one-minute radio ad for a non-famous artist whose work you like. Pay for a time slot and put the ad on the air.
1663
1664# A Readymade in the Triassic
1665I have a silly gift for you: all the access codes to my e-mail, Fotolog, Flickr, Myspace, and countless others accounts begin with your name. Maybe that password that begins with the word Malena will be saved in files and folders and directories that will travel to lord knows which corner of the galaxy and our planet. Within thousands of years, when humanity stops existing, your name, as a meaningless word, will be floating in space, your name that I wrote to myself and that I now give to you.
1666Let’s write love letters in our passwords. I assure you, they are time capsules.
1667
1668sit on a chair, or on the floor, or anywhere
1669light a cigarette or not
1670look out of the window or onto the wall and
1671wait until something happens.
1672
1673# Instruction
1674Some recipes from Romances of the Meal, as performed in Brussels in November 2000 under the sponsorship of Barbara Vanderlinden and Hans Ulrich Obrist.
1675Here is the on-line recipe from LaZy, who writes, “Coca-Cola is really good don’t you think? I have always been a great fan of the marvelous soft drink “Coca- Cola”. … I wouldn’t call myself a cola-holic but I have to admit that I’m really restless the days when I’m broke and can’t afford to buy one. Well anyway, here is the recipe.” He/she avers that s/he had to fight his/her way “through 500 guards” to get this formula:
1676Coca-Cola
167728 ml caffeine
167828 ml vanilla extract
167910 ml orangeoil
168010 ml lemonoil
168110 ml nutmegoil
168210 ml cinnamonoil
168310 ml koreanderoil
168410 ml nerolioil
1685224 ml alcohol
1686112 ml coca extract
168784 ml lemonacid
1688224 ml limejuice
168913.62 kg sugar
16909.5 l water
1691Mix the caffeine and the limejuice in 224 ml boiling water. Add the vanilla extract, the orangeoil, the lemonoil, the nutmegoil, the cinnamonoil, the koreanderoil, and the nerolioil when the mixture has cooled. Wait a couple of minutes and then add the rest of the ingredients and the water. Let the mixture rest for 24 hours. Should make 10 liters of Coca Cola
1692Here is a refreshing drink full of history:
1693Brazilian Iced Chocolate Coca-Cola
169412 1/2 pounds unsweetened chocolate
169525 cups sugar
169613 1/2 gallons coffee, doublestrength and hot
169716 1/2 gallons milk
169810 gallons Coca-Cola, chilled
1699Whipped cream or vanilla ice cream
1700In the top of double-boilers over hot water, melt chocolate. Stir in sugar. Gradually stir in hot coffee, mixing thoroughly. Add milk; continue cooking until all particles of chocolate are dissolved and mixture is smooth, about 10 minutes. Pour into jars. Cover and chill. When ready to serve, stir in chilled Coca-Cola. Serve over ice cubes in tall glasses, topped with whipped cream. If you want to save this for dessert, add a scoop of vanilla ice cream to each serving. Makes 300 gallons, or 500 servings. Remember, in this and all recipes, you cannot cook or heat Diet Coke, since its artificial sweetener Nutra-Sweet (chemical name aspartame, product of Monsanto) breaks down and becomes unpalatable when heated.
1701Coca-Cola Roast
1702100 mad cow roasts (bottom round, lean chuck or other less tender cuts work well)
170310 gallons Coca-Cola
1704100 pkg dry onion soup mix
1705Place roasts in baking dishes. Sprinkle onion soup mix over roasts. Pour in Coca-Cola. Cover and seal tightly with aluminum foil. Place in 300° F oven and cook until tender. Each 4 pounds of roast will take 3–1/2 to 4 hours. This is certainly better than McDonald’s! A “McDo,” or McDonald’s shop near Antwerp was destroyed in August of 1999 and several in France were seriously vandalized in a protest against U.S. global culinary dominance. “Culinary sovereignty is imperative, according to Patrice Vidieu, the secretary-general of the Peasant Confederation, the French farmers’ movement. “What we reject is the idea that the power of the marketplace becomes the dominant force in all societies, and that multinationals like McDonald’s or Monsanto come to impose the foods we eat and the seeds we plant.”3
1706Exploded Meat
1707Fill 7,000 pound steel tank with 600 pounds’ worth of carcasses or chunks of meat, the equivalent of three steers, boned. Ring with dynamite. Set off dynamite charges internally, about 2 feet from meat, at about 40,000 pounds per square inch. The shock waves tear through muscle protein, evenly tenderizing the meat. Allow three thousandths of a second for the tenderization process. This process has been pioneered by Tenderwave corporation. This replaces earlier methods of tenderizing meat by chasing the living animals at top speed through the forest for hours until they died of fear or exhaustion, a method formerly in widespread use in Europe but whose ability to tenderize the meat is scientifically unproved.
1708Boneless wonder
1709100 pounds exploded, tenderized flank steak (see instructions)
171018–3/4 gallons Coca-Cola
17111–1/2 quarts coffee
17121/2 gallons tomato paste
171310 to 15 medium bulbs garlic
17142–1/2 dry pints ground cumin seed
17151 gallon, more or less, oil for frying
1716Heat oil in 50 woks or 25 frying pans. Add exploded meat fragments, cook until browned. Add onions and garlic, cook until onions are soft. Add tomato paste and stir until all is nicely coated. Add coffee and stir until dark, shiny brown color develops. Pour in Coke and add cumin seeds. Cover and simmer 10 minutes. Serves 600.
1717Beef stew in tomato-cheese sauce
1718200 pounds lean stewing beef in pieces (see above)
1719120 small onions, whole
17202/3 bushel celery, chopped
1721200 large potatoes, cut into eighths
1722600 carrots, cut into 6-inch pieces
1723100 slices Wonder white bread, cubed
17242–1/2 gallons (20 cans) tomato sauce with cheese
17256–1/2 gallons Coca-Cola
17263 cups salt
17271/4 cup pepper
17283 cups dill seed
172910 cups grated Parmesan cheese
1730Combine all ingredients except Parmesan cheese in many large casseroles. Sprinkle with Parmesan cheese. Cover and bake at 250° for 4–1/2 to 5 hours. Do not open oven door during cooking.
1731Or perhaps you are looking for some seriously Oriental dish to spice up your life:
1732Chinese Pepper Beef
1733150 pounds top round or sirloin steak, boneless
17343 quarts oil
173510 heads celery, thinly sliced
173610 bulbs garlic, minced
173725 cups onions, thinly sliced
17382 cups salt
17393–1/2 gallons Coca-Cola
17407 gallons beef broth (bouillon), canned and undiluted
1741200 medium tomatoes, ripe
17421–1/2 gallons Coca-Cola
174315 cups cornstarch
17441–1/2 quarts soy sauce
1745100 green bell peppers, cored, seeded, and cut into thin strips
1746Rice, cooked and hot
1747Trim fat from meat and cut into pencil-thin strips. In deep skillets or Dutch ovens, heat oil, garlic, and salt. Add meat and brown over high heat, about 10 minutes, stirring occasionally with fork. Add beef broth. Cover; simmer 15 to 20 minutes or until meat is fork tender. Stir in green pepper strips, celery, onions, and 3–1/2 gallons Coca-Cola. Cover; simmer 5 minutes. Do not overcook; vegetables should be just tender. Peel tomatoes, cut into wedges, gently stir into meat. Blend cornstarch with the 1–1/2 gallon of Coca-Cola and soy sauce. Stir mixture into meat and cook until sauce thickens, about 1 minute, stirring lightly with forks. Serve over hot rice. Makes 600 (3/4 cup) servings.
1748For the adventurous, there is Scotland’s BELOVED HAGGIS, the National Dish.
1749Haggis is both loved and reviled by natives and sometimes horrifies people who hear it described for the first time. You might have a hard time finding a haggis in the States, since the U.S. Department of Agriculture has declared it “unfit for human consumption.” But now you can make haggis yourself! (You may remember that BSE contamination, and its double, sheep scrapie, is deemed most likely to be found in organ meats and bone marrow.)
1750100 sheep’s lungs (illegal in the U.S.; omit if unavailable)
1751100 sheep’s stomach
1752100 sheep hearts
1753100 sheep livers
175450 pounds fresh suet (kidney leaf fat is preferred)
175575 cups steel-cut oatmeal
1756300 onions, finely chopped
17572 cups salt
17582 cups freshly ground pepper
17591 cup cayenne
17604 gallons stock
1761Wash lungs and stomachs well, rub with salt and rinse. Remove membranes and excess fat. Soak in cold, salted water for several hours. Turn stomachs inside out for stuffing. Cover heart and liver with cold water. Bring to boil, reduce heat, cover, and simmer 30 minutes. Chop hearts and coarsely grate livers. Toast oatmeal in skillets, stirring frequently, until golden. Combine ingredients; mix well. Loosely pack mixture into stomachs until about twothirds full. Remember, oatmeal expands in cooking! Press any air out of stomachs and truss securely. Put into boiling water to cover. Simmer for 3 hours, uncovered, adding more water as needed. Prick stomachs several times with sharp needle when haggis begins to swell, to prevent bursting.
1762After being boiled, Haggis is brought to table with great ceremony. Place on hot platters, removing trussing strings. A piper ushers in the Haggis and all raise a glass of Scotch whiskey and “brrreathe a prrayerr for the soul of Rrrobbie Burrrns!” Serve Haggis, sliced, with BSE beef or lamb gravy. Serve with a spoon. Accompany with “neeps, tatties and nips”— mashed turnips, mashed potatoes, nips of whiskey. Makes 100 haggises, serves untold numbers.
1763Chicken in Coca-Cola Sauce
1764350 to 400 pounds dioxin chicken, cut up
176525 cups salt and 5 cups pepper
17663 gallons olive oil
176712 cups butter or margarine
1768100 pounds fresh mushrooms, sliced
1769100 cups chopped spring onions
177030 bulbs of garlic, diced very fine
177125 to 30 cups flour
177211 gallons Coca-Cola
177320 gallons chicken broth
17744 pounds of fresh parsley
1775100 bay leaves
17764 cups rosemary
1777Dry chicken with paper towels. Season with salt and pepper. Heat oil and butter in 25 very large cast-iron skillets. Add chicken pieces and cook until golden on one side. Turn and cook other side until golden. Chicken will have to be cooked in batches. Place on separate platters and set aside.
1778In the same pan, add mushrooms; cook over medium heat until golden. Add onion and garlic and cook, stirring until softened. Sprinkle flour into pan, and cook, while stirring, until a light color (1–2 minutes). Add Coca-Cola, broth, and herbs. Stir to blend. Cook 4–5 minutes. Put sauce into large cooking pots (400–600 quarts) and bring to boil. Add chicken pieces to pot. Cover, reduce heat to simmer, cook for 25–30 minutes or until tender.
1779Remove chicken from pots, arrange on platters. Skim fat. Discard bay leaves and pour sauce over chicken. Serves 400.
1780For a nice bread accompaniment, here is a muffin with a Mexican accent:
1781Mexican Coca-Cola Muffins
178250 gallons Coca-Cola, room temperature
17831–1/2 tsp. baking powder
17849 cups instant coffee
17852 cups baking soda
17861 gallon unsweetened chocolate cocoa mix
17871 cup salt
17881–1/2 gallons Kahlua liqueur
17895–1/2 gallons pecans, chopped
17902 cups vanilla
1791200 eggs
179220 dry gallons plain flour
17932 cups butter, melted
1794100 cups sugar
17955 gallons buttermilk
1796Preheat oven to 350° F. Grease muffin pans. Combine Coca- Cola, instant coffee, and unsweetened chocolate cocoa; whisk to smooth consistency. Mix in Kahlua and vanilla to coffee mixture and set aside. Sift together flour, baking powder, baking soda, salt, and sugar. Stir in pecans.
1797Whisk together eggs, melted butter and buttermilk. Add to Coca-Cola mixture, blending well. Make a well in dry ingredients and add liquid, stirring quickly and lightly. Spoon batter into greased muffin cups.
1798Bake about 15 to 20 minutes, or until done. Cool slightly on wire rack. Remove from pan. Makes 180 to 200 muffins. (I found this recipe in Cooking with Coca- Cola, a cookbook compiled for the Third Annual Coca-Cola Days in Atlantic, Iowa, in 1995.)
1799Had enough meat? How about a nice salad? This gives a tingle to your tongue when you eat it. Great for kids!
1800Coke Salad
1801200 small packages cherry Jell-O (in total 50 pounds Jell-O)
18021–1/2 bushels pecans
18037 gallons dark cherries
180420 pounds cream cheese
1805200 cans smelly Coke
18067 gallons boiling water
1807100 small cans crushed pineapple
1808Warm cream cheese to room temperature, chop finely. Dissolve Jell-O in boiling water, add finely chopped cream cheese. Let cool. Add Coke and cherry juice; mix well and let jell slightly. Add pecans, cherries, and pineapple, mix well. Finish jelling. Do not use chopped pecans or home-canned cherries, or your kids will rename this something disgusting!!!
1809Or try this:
1810Coca-Cola Salad
1811100 cans Bing cherries
1812100 cans crushed pineapple (large)
1813200 large boxes cherry gelatin (Jell-O)
18149–1/2 gallons suspicious Coca-Cola
1815100 cups pecans
181650 pounds cream cheese
1817Boil juices from fruits (plus enough water to make 13 gallons), add Jell-O and stir until dissolved. Add nuts, cherries (chopped), and drained pineapple. Add Coca-Cola. Chill until partially set, then add cream cheese cut into small cubes. Chill overnight.
1818L’Entarteur Godin says that the first five seconds after a pie attack can reveal the victim’s true character. “Accurately delivered, a cream pie is an uncannily precise barometer of human nature.” Film maker Jean-Luc Godard laughed it off and defended Godin from being permanently banished from the Cannes Film Festival. In contrast, Godin’s nemesis, philosopher Bernard-Henri Levy, responded to several pieings by punching Godin in the face. Bill Gates stood paralyzed immediately after getting plastered, blank and emotionless, “as if bolted to the ground”; Godin expressed disappointment at Gates’s lack of any discernible human emotion with a face full of pie.
1819Godin’s group uses only storebought, top-quality pies made from fine ingredients, with filling and crust light enough to do no harm. Godin believes a pie should never be thrown: one must press it directly into the face.
1820However, classic pie throwing is not necessarily so scrupulous. Buster Keaton taught piethrowing technique to Ed Wynn on his television program15. Following are the different throws used in the silent-movie days, as Buster explained them. (Buster’s advice for beginners: “Don’t try it in the house.”):
1821The Walking Thrust. Walk up to the person, push the pie in their face and before you walk away give it a slight twist. This makes the sticky part of the pie cling to the recipient.
1822The Shit Put. Thrown straight from a distance of three to five feet.
1823The Ancient Roman Discus Throw. The most beautiful delivery of all. Spin half-way round, turning the pie as you whirl, and then let go, hitting the victim square in the face.
1824Cather’s Throw to Second Base. The hardest of all. Pull back your arm just as far as it will go, and then bring the pie in all the way from East St. Louis—and let ’er go!
1825With shots over eight feet, make sure the pie is of the right weight to fly perpendicularly as it leaves your fingers. 16
1826Banana Apricot Pie
18271–1/3 bushels dried apricots, snipped
182810 gallons banned Sprite, a Coca-Cola product
1829150 cups sugar
183025 cups all-purpose flour
18311/2 cup salt
1832300 contaminated egg yolks, slightly beaten
183312 cups butter or margarine
1834200 medium bananas, thinly sliced
1835100 baked pie shells meringue
1836Combine apricots and Sprite. Cover and simmer for 10 minutes or until tender. In bowl, combine sugar, flour, and salt; stir into apricot mixture. Cook, stirring constantly, until mixture is thickened and bubbly. Cook and stir 2 minutes more. Stir 100 cups of hot mixture into egg yolks and return mixture to pans. Return to gentle boil. Cook and stir 2 minutes.
1837Stir in butter. Arrange bananas into pie shells and pour apricot mixture on top. Spread meringue over hot filling. Bake in 350° oven 12 to 15 minutes. Keep warm or allow to cool before throwing.
1838As Godin and his group GloupGloup proclaim in their Manifesto: L’internationale pâtissière:
1839
1840DO ING IT.
1841I THOUGHT I’D DO IT.
1842YES, I DID IT. I WENT
1843AHEAD & DID IT & NOW
1844IT’S DONE
1845T I N A
1846
1847# de-finition/method #10. format at the limit 3.
1848a canvas stretched on stretchers especially constructed for the actualization. the format does not need to be regular. each corner of the canvas must butt up against one of the edges of the wall. the points of contact are not determined in advance; they’re determined by the charge-taker, who also chooses the work’s shape and size. the possibilities are almost infinite. the canvas is painted the same color as the wall.
1849
1850# Instruction
1851If you go to Frankfurt, try taxi 797.
1852Call Hans, the taxi driver, at +49 (0) 172 9635343.
1853Hans will come and pick you up.
1854Enter the taxi.
1855Ask for the CD.
1856Listen to the CD driving.
1857If you like it ask for an available copy.
1858Take it with and offer it to the first taxi driver (with a CD system) in your next destination.
1859Please ask the new driver for his cell number and the name of the taxi. E-mail it to anrisala@yahoo.com
1860Thanks to you, Florian Agalliu and Hans-Günter Rölle it has only started.
1861
1862# A Duet
1863Choose a partner and a space for practicing the duet. Reproduce the positions represented by the images here by passing from one position to the next in the most direct way possible. You should always remain in contact with your partner’s body and use the other to move. Alternate the so-called “female” and “male” role in each new position (if possible) throughout the choreography. Perform in the same continuous flow of movement without stopping or accelerating. After the last position, try the whole series again in a loop. Try to drive and be driven by your partner, in other words be passive and active at the same time. Practice the duet 1. with eyes closed, 2. While looking at your partner, and 3. while looking at people you imagine around you.
1864When you feel confident and comfortable with your duet, you can perform it in an exhibition space (or other public spaces such as a park, a historical monument, etc …). Perform the duet three times in a loop: first time with eyes closed, second time with eyes open and looking at your partner and kissing s/he when the choreography allows it, and third time looking at the people around you as much as the choreography allows. Feel free to talk to your partner during the practice and performance, inasmuch as you keep the movement quality slow and fluid, without accents.
1865When doing it in a public space, perform it in comfortable streetwear or in a glamorous outfit, as you wish.
1866As a costume, you may want to play with gendered signs, such as make up, transformation of your body shape (e.g. fake breasts or belly), and to use different ways of performing gender by focusing on postural expressions.
1867
1868# On Air
186959 steps to be on air—by sun power time of realization 24 h two persons
18701 Unroll a 20 microns thick black Polyethylene tube (usually used for black garbage bags). The tube is usually folded and is 1,5 m wide. (3 m when unfolded). –You will need a total of 353 m long (one roll of 30 kg is usually 500 m long (EUR 100) Polythene black opaque high density (0,95))
18712 Lie down 16 layers of plastic. Get rid of any air trapped between the layers. You need to unroll each one of them, one on top of each other, up to 22.25 m. Maintain the strips lined up together using clothes pins. The plastic is double, so you should have 32 layers.
18723 With a white pen corrector, draw a line every 25 cm on the edge of the plastic … (they are a lot) … then use the following numbers indicated below to mark the other line. Distance on the gore in m –0,0/0, 25/0, 5/0, 75/1/1, 25/1,5/1,75/2/2, …, 20,5/20,75/21/2 1,25/21,5/(last)21,75^, …
1873You can find the next steps at http://www.e-flux.com/projects/do_it/manuals/0_manual.html.
187456 Now … ready to fly! … Since this flying machine is lifted only by the sun! You imperatively need a sunny day with no wind … see you on air.
187557 with friends …
187658 already shaping the new continent …
187759 a new planet … looking for an orbit
1878
1879# Secret
1880Take a Polaroid photo of someone you secretly lust for and whose picture you don’t have.
1881Don’t rush. Take your time. It is important that the portrait comes out perfect.
1882Without looking at the photograph, put it in an envelope, still white and undeveloped, immediately after it comes off the camera.
1883Seal the envelope carefully, hide it in a secure place and never, never open it again.
1884
1885# A Walk in Our Cosmic Neighborhood
1886Walk out on a clear evening in November to a dark spot where you can see the stars. If you live in the Northern hemisphere, look up in the South; if in the Southern hemisphere or near the Equator, look straight up and further North. You will see more than a dozen bright stars—sketch them on a piece of paper. Use a star map if you need to.
1887Identify the constellation Cetus (the Whale). One of the two bright stars at its bottom (“belly”) is Tau Ceti. It is one of our nearest neighbors. It has a planetary system similar to ours. Maybe life exists on one of the planets?
1888Imagine the possibilities.
1889
1890# DIY Plinth
1891INSTRUCTIONS FOR THE FABRICATION OF A CARDBOARD DISPLAY PLINTH
18921. From large sheets of cardboard, cut out the parts as shown in the diagram opposite.
18932. Score the card and fold back at 90 degrees where indicated by broken lines.
18943. Apply a suitable adhesive or double sided tape to the construction flaps and join the top (A) to the side panels (B), working one side at a time, until finally closing the box along the long edge.
18954. Slot together the two cross brace sections (C) to form an X and place into the enclosure, ensuring a tight and rigid result, and if necessary, adjusting the cross brace dimensions slightly.
18965. Stand the plinth upright and place an item of your choice on the top (A).
1897
1898place two buckets of water side by side. have one become colder and the other one become warmer.
1899this sounds either rather complicated or even somewhat alchemistic-esoteric … it is perfectly easy: you just fill the one from the hot-water tap and the other one from the col-water tap …
1900[it’s a piece from my “tischtheater” (“table theatre”), which i produced as a multiple in 1968. little difference: then it was two galsses of water on a table. bigger difference: then it only had the two sort-of alchemistic lines—let’s say: only the “riddle”—and not the simple, realistic “solution”.]
1901further improvement: how about placing two bottles of beer and doing your best not to let them get warm?
1902by the way, pieces like this would not have been possible without the genius of george brecht and hist pieces of the late fifties and early sixties.
1903
1904# take a day off
1905buy some yellow and red flowers
1906put them in a blue vase
1907place them on the table
1908get some glasses of fresh water
1909clean the brushes
1910open the paintbox
1911tear the paper right size
1912set the mood
1913bring the coffee
1914cookies too
1915put Carla Bley record on player
1916BIG BAND THEORY
1917wait
1918try to set the mood precisely
1919if this doesn’t work
1920try it tomorrow
1921again, same way,
1922but with pink flowers
1923
1924# you are already doing all of it
1925you are already doing all of it
1926
1927# Black Lines
1928One-meter-long horizontal, straight, and wave-like lines to be drawn on the wall from the ceiling downward the floor << one straight line/one wave-like line/two straight lines/two wave-like lines/three straight lines/three wave-like lines—and so on >>. This work can be executed by emulsion paint or ink or marker. See illustration drawing.
1929
1930Think long and hard about what would make a good and inspiring piece using your own talents. Use whatever skill of yours you feel is most developed (writing, painting, dancing, crocheting, singing, etc.), execute it, and present it as yours.
1931
1932Can people tell when they are being stared at?
1933Many people have had the feeling they are being looked at and then on turning round find that they really are. Conversely many people have had the experience of looking at somebody else from behind, and then seeing them become restless, and turn and look round. This phenomenon is well known even to children and is found in all parts of the world. However, there have been practically no scientific investigations of it, even by parapsychologists.
1934There has been a strong taboo against even thinking about this effect, which, if true, implies that the mind reaches out from the brain to affect what is being looked at. This contradicts the habitual scientific assumption that the mind is confined to the brain. Thus this simple, everyday experience has enormous theoretical implications, and could help open up a new understanding of the nature of our minds.
1935One way to do research is simply to pay attention to the phenomenon in everyday life. Under what condition does it work best? What parts of the body seem most sensitive? And so on.
1936You can also do a simple experiment at home, working with a partner. One person sits with his or her back to the other. In a series of trials the looker either looks at the back of the subject for 20 seconds, or looks away and thinks of something else for 20 seconds. The sequence is determined at random by tossing a coin before each trial: heads mean look; tails mean don’t look. The looker indicates when the trial is beginning by a tap, click or bleep, and the subject then guesses whether he or she is being looked at or not. Mechanical clicks or electronic bleeps are better than taps because they rule out the possibility of subtle clues being transmitted through the strength of the taps. The looker records the results and then tells the subject whether the answer was correct or not. The looker then tosses a coin to determine what to do in the next trial, and so on.
1937I have found it best to keep test periods fairly short –up to about twenty minutes, during which time forty or more trials can be done. For statistical analysis at least ten separate test periods are desirable, either with the same pair of people, or with different pairs of people.
1938I would like to hear the results of any experiments that readers can carry out. These can be sent to me by post to the following address: Seven Experiments Project, BM EXPERIMENTS, London WC1N 3XX, England.
1939# Instruction
1940Make some art works for animals. And make them smile.
1941
1942Use a wooden rod as a tool to keep a curtain open.
1943Make four holes in a straight line on a wall and a window so the exterior filters into the interior of the room.
1944Turn all the clocks from the museum or from the place where the exhibition takes place back one hour.
1945Make a hole at the bottom of a door as a den to ripen an avocado.
1946Instruction for choreography: Walk in front of a mirror guided by what you see in the reflection.
1947
1948# Instruction
1949Tip a bicycle seat so that the front points upwards and use the seat to squeeze lemons.
1950
1951# How to Curate your own Group Exhibition
1952On a piece of paper, write the names of three famous artists
1953Add your name to the list
1954Make up a title and write a press release
1955Send the press release to three other artists and instruct them to add their names to the list of the artists
1956Tell everyone you know in person and on-line about your upcoming group exhibition
1957
1958— rhythm
1959cradle a melon in one arm gently bore a hole in the melon with the blunt end of a toothbrush
1960— communion
1961take 75 mg of niacin study “fireplace for your home” on Netflix
1962— immortality
1963place “chip-clips” on the cuffs of a pair of pants (closing the legs)
1964hang them on a clothes line from the waist
1965
1966# Sheela (na-gig) at Home
1967For women who wish to invigorate the feminine demi-urge in the home and to expel male presences—do the following:
1968Locate images of local fertility goddesses or use the primal magic of Sheela-na-gig.
1969Hang with freshly washed feminine garments of intimacy on a clothesline.
1970Drip dry is recommended.
1971
1972# The At-Home Guide to Media Paleontology
19731. One is to go to San Francisco. One is to stay in the frightening urban apartment of Richard Kadrey, globally notorious author of the COVERT CULTURE SOURCEBOOK. One is the drink too much coffee at Kadrey’s kitchen table. One is to discuss aimlessly the peculiar nature of the modern media environment.
19742. Two are to have a sudden insight. It is of vital importance that the idea should emerge from between two people and not be the intellectual property of anyone.
19753. Two are to develop the vague notion for a book. The book to be called THE DEAD MEDIA HANDBOOK. The book to take a naturalist’s casebook from, and to consist of a natural history of extinct media. The brilliance of the notion to consist in the stark fact although there are 18,732 big fat ridiculous books about emergent futuristic media such as Internet and CD-ROM, there are no books at all about the battalions of experimental media that have already shriveled and died hideously on the barbed wire of technological advance.
19764. One is to scribble down a few candidates: Telefon Hirmondo. The European Panorama vogue. The phenakistoscope. Magic lanterns. The stereograph. The Edison Wax Cylinder. The Japanese puppet theater of Chikamatsu. Bidwell’s telephotograph. Early 20th century electric0light spectaculars. One is to realize with a sinking sensation that the territory is intimidatingly vast in scope.
19775. One is to be struck with a sinister insight. Why not use modern electronic media to generate dead media research? By the simple step of abandoning any personal claim to the idea, one can make other people do all the work!
1978To conceive vague plans for the Web page http://www.well.com./dead.media/html!!
1979To contemplate the prospective Usenet discussion group alt.dead.media!
1980To speculate on the unknown emergent glories of the publicdomain Dead Media Frequently Asked Questions list!
1981To ponder the possibilities of a Dead Media voicemailbox!
1982To establish the Dead Media faxline at 01-512-323-2405!
1983To further exploit the already-overcrowded email addresses bruces@well.sf.ca.us and kadrey@well.sf.ca.us!
1984To compose a dead media print prospectus in some arcane publication emanating from a London art gallery!
1985To tug in the infinitive on the sleeve of the previously unsuspecting reader as he or she realizes that he or she is being directly solicited to contribute example of dead media for the clear benefit of mouse-potato cyberpunk hucksters who live through modems and refuse to leave their homes!
1986
1987Take George Herriman’s Krazy Kat and do a Sumi ink drawing on archival paper 4 cm x 7 cm. It shows Krazy Kat protesting our cybernetic digital world.
1988
1989# Lighting a fire with ice
1990Fill a bowl with boiling water. Put the bowl in the freezer. You can easily take the ice that forms out by lightly warming the bowl.
1991Now, build a boat out of a sheet of newspaper. Fill the bowl with water again. Then, let the boat float. With the help of the summer sun and the magnifying glass made of frozen water, you can now set the paper on fire. (Focus on a block letter.)
1992Finally, put the lens of melting ice into the bowl, together with the ashes from the newspaper boat.
1993
1994# Instruction
1995— And what can be done to recover one’s memory?
1996— Just close your eyes, drift along your personal toolbox, take objects at random and try to guess them. If you manage to guess 10 objects without making any mistake, you can count yourself lucky, because it turns out you’ve just recovered memory.
1997Just do it!
1998Pascally … yours!
1999
2000# Untitled
2001Ingredients
20021/2 cup chopped onions
20038 garlic cloves
200410 dried jalapeño chilies
2005100 grams chopped fresh ginger
20062 tablespoons chopped Chinese parsley
20071/2 teaspoon cumin
20081 teaspoon shrimp paste
20091 teaspoon salt
20103 tablespoons oil
2011Equipment
2012electric blender or food processor
2013small skillet
2014electric or gas stove
2015glass jars with good lids (many)
2016Combine all the ingredients except the oil in a blender and process until smooth.
2017Heat up the small skillet on medium high heat and add the oil.
2018Slowly fry the paste for 5 minutes until it is fragrant.
2019Remove and store in the jars for distribution.
2020Repeat as necessary.
2021
2022# Fill Event
20231. Find one or several holes or one or several openings in between walls, floor or any flat surface in the museum space. If you do not find any, make a hole or an opening.
20242. Fill the hole(s) or opening(s) with an appropriate material such as mud, soil, sand, etc.
20253. Take the material out the day of the show.
2026
2027# Social Score
20281. Hire a detective who, over a period of ten days, will track and report on the daily activities of a young contemporary internationally renowned artist who is in the city and who was not invited to participate in the exhibition.
20292. Display in the exhibition the detective’s daily reports and corresponding photographic documentation.
20303. Based on the record, indicate the most frequently recurring activities of the subject being followed, and use this record to produce an illustrated manual on how to be an artist.
20314. Hans Ulrich Obrist will issue a certificate to the person who follows the manual’s instructions and proves, through a record of activities, the interesting things that have occurred during the period of activity.
20325. Start considering options for the next artist to be chosen as the subject for the next edition of this exhibition.
2033
2034# Lizzie Fitch
2035Theme: Negative Beach (The Maintenance)
2036Hold Skills: The Edge Of Leg Work
2037Props and Accessories
20381.) Take a bottle of Penta Water, Alkaline PH 9.5, (Penta: Number Prefix) Have the bottle filled with live male guppies In Post: We can suspend a floating[Red] Black Berry, in the bottle and create the look of settled Activated Charcoal Dust at the bottom of the bottle (Almost like black sand) The graphic design and brand logo on the bottle will be re-­worked to say Past Berry Guppy infused Penta. In small text it’ll say With Activated Charcoal from Fair Trade Fire
20392.) A Shinny Army Print, Eye Mask for Sleeping This will go in the hair and act like a headband. Then want to take a pair of Sun Glasses, masculine yellow tinted shades, & put them on top of the eye mask
20403.) Earrings: Put the First-­Class Forever Stamp on each ear. Then we take the Red Circle “NO” sign and have it really small as the bell dong part. Let’s hang amber mosquito fossil earrings from each ear, forming one whole earring. Does any one make real amber mosquito earrings?
20414.) Do a Pinkish Brass Hoop Tooth Piercing AND a Tooth Pick to play with
20425.) In Post: Her teeth should have a Radiant Vertical Gradient. By the Gums, a deep shinny silver, and at the tips a soft pink iridescent beige like an enhanced catfish
20436.) A Yellow Soccer Card (warning), with Suffixes waiting to be Conjugated, written on the card, such as: ed, ual, ly, ish, ity, ize, iferous, tude, ous, oid, ism, ation
20447.) Necklace: Take a Brass Chain Necklace. Then take a very small red wheel (only like 4 inches in diameter). Hook it to where the brass necklace would normally hook to its self by using Two Red Key Clips. Then with a thin chain we hang Two Gillette Fusion Razor Heads like Army dog tags, so that the razor side shows forward. Then in Post let’s have a Hand Curser floating in front of the razor with an Arrow Curser Tattooed onto the cursing hand on both razors
20458.) Long Reverse-French Tip finger nails
20469.) In Post, or with prosthetics: Let’s give Lizzie an Adams Apple. Maybe we could start it with makeup
204710.) Then we give Lizzie a Watch Tan Line, but no watch
204811.) On one hand take a Black Nitrile Glove and cut out the fingers so that the fingers show through: Then take a Blue Nitrile Glove and cut off the whole glove so that the blue wrist part becomes a Bracelet.
204912.) An Orange Silicon Key Chain Bracelet with a ton of Keys This will be on the glove hand which is the opposite hand as the tan line watch hand
205013.) A Crow Bar Covered in Sun Screen
2051Clothing
20521.) Take this Ann-­ Sofie Back Shirt, Cut off the Sleeves down to the belly … use one side of this shirt and merge it with one side of a gray and blue Dries Van Noten shirt. Also cut the sleeve off this shirt to the belly. She would wear this open with a black bikini top.
2053She should also wear a warm colored see through mesh shirt in Contrast to the Blue Mash Up like the pink mesh Dries Van Noten shirt that happens. It would be great to get a variety, some to try over the outfit and some under it. In Post we want to merge the Home Depot logo with the Mexican flag, And have it look like it’s transparently yet richly printed into the clothing. OR at least fused in some way …
20542.) Blue Faux Denim rimmed yoga Pants
2055Face
2056A Combination of Makeup and Post: Let’s age Lizzie slightly: In a way that makes her look like she received a ton of well done surgeries, at too young of an age. So that she looks 46, but it􀞌s really unclear if she got to 46 from 60 or 30. We could achieve this primarily with contour makeup, & the way we treat lips and jaw/cheeks in Post
2057Eyebrows
2058Same Color as hair, nicely shaped on the thicker side
2059EYES
2060Let’s fade her eyes from Gray Near the Pupil to Construction Orange
2061Lip Stick
2062Give her Construction Colored Orange Lip Stick
2063SKIN
2064With Lizzie’s Over All Skin let’s give her a TON of customized tan lines and Tan Gradients: Eccentric Contouring: Done in a way that is strangely desirable (Ex: Chocker Tan Line, Sunglasses Tan Line, Lolli-­ Pop Stick Tan Line, A Tie Tan Line, Back of the Hat Tan Line, Bra Tan line that doesn’t match Bikini, Belly Button ring Tan line …) We can brainstorm a lot … all kinds of tans(Ex: Burns, Bronze, Gold, Olive, Brown) Fading in and out really organically: Satin skin, so that she looks a little Wet, and Beached
2065Facial Basics
2066Keeping in mind the plan for Plastic Surgery and Tan Lines: Let’s figure out a way to do Reverse Contour Makeup. Maybe not the whole face, but it would be great if we could figure out a good moment of this looking really decisive.
2067BACK GROUND
2068A Note about all Back Grounds (The model may have arm parts or body sections in a state of transparency to blend and merge the space)
2069Lizzie Back Ground
2070Oil Spill Amber Waves, Park Bench Wood and Metal, Greenish Blue Reusable Plastic Water Jug Material and Shaping: A Screen Window, and a Floating Handle Door Knob right next to a Floating Round one. Let’s take the look of either the yellow, orange, purple or pink/gray Army Outfit, & construct it in Post to be a Body Drop Shadow around the right side of shape: like drop shadows in font design.
2071
2072# Do it Again
2073See page 72, 88, 116, 167, 192, 212, 228, 258, 324 and do it again. Very, very.
2074
2075# Geometría popular (Popular Geometry)
2076General Instructions:
20771. Think of a place to put the stickers (if you are not sure, see the options suggested under)
20782. Carefully peel the stickers from the backing
20793. Place the stickers on the chosen place Suggestions of places for installation:
2080a) in the Museum (galleries, staff offices, restrooms, café, lobby, glass door or entrances, others) Walls
2081Windows
2082Ceiling
2083Doors
2084Others
2085b) in your home
2086c) in the street
2087d) others
2088Suggestions of installation in chosen place:
2089a) as they come
2090b) distributed and separated by large distances
2091c) orderly and grouped
2092d) in a selective/arbitrary manner
2093e) others
2094
2095# Operation
2096Surgery could be understood as a performance taking place in the form of an event. It induces events to happen outside of the “presence”. The implication of the event is understood to exist within this environment, but it cannot be absorbed by the system and knowledge predisposed to the environment.
2097
2098# The Ring Road Therapy
2099Classification: Used for the treatment of psychological illnesses.
2100Main Uses and Indications: Insomnia, anxiety, mania, obsessive behaviour, depression and other psychological conditions.
2101Application: The person or group should be dressed in loose casual attire and soft cotton slippers, and should walk around each of the major ring roads in Beijing in a clockwise direction, whilst softly reciting, “A ma mi ma mi hong”.
2102Dosage: Insomnia—Second Ring Road in Beijing (distance of total journey = 32 kilometres), twice daily, one round each time. Anxiety—Third Ring Road in Beijing (distance of total journey = 48 kilometres), once daily, one round each time. Mania—Fourth Ring Road in Beijing (distance of total journey = 67 kilometres), thrice weekly, one round each time. Depression—Fifth Ring Road in Beijing (distance of total journey = 98 kilometres), twice weekly, one round each time. Obsessive behavior—Sixth Ring Road in Beijing (distance of total journey = 188 kilometres), once weekly, one round each time.
2103Instructions for Treatment:
2104As this therapy respects the autonomy of the patient, it encourages spontaneity through various practical societal operations, such that the original normal psychological state and potential which have been neglected as a result of the ailment can be developed. This then allows for a fulfillment of the patient’s sense of self-achievement, hence providing the means for the expression of his or her self-worth. This heightens the patient’s motivation in life, and it is evidenced by his or her increased vitality and interest, and endurance of workload and duration. This treatment cultivates the patient’s foundations in terms of his or her sense of autonomy, thus increasing the ability to coordinate actions as well as to adapt to the society. By combining the operations, selftreatment formulae and work plans after discharge, it can result in massive changes in the patient’s attitude to life and capabilities, and hence subsequently significantly decrease any defects in terms of his or her societal functions.
2105
2106# Untitled
2107These words should appear in any variable form, inside or outside of the space. They can be spoken, used as a performative interaction, used as a script, included in the press release or floorplan, be printed on walls or on paper, sung out loud, included in another piece, spoken out loud, function as subtitles, etc.
2108choochoo zing lalala poof flutter yikes fisst bump fwoosh gasp swish swoosh jingle screech slap thud choo fizzz thump bloop clap splash grunt spray bash sprinkle squirt drip drizzle whiff whoosh ratatat whisper bam tinkle bang clang whine clank clap clatter clink ding giggle growl gurgle mumble chortle murmur bawl belch chatter blurt arf baa bark bray buzz cheep chirp cluck baa babble whisper pingpong shock shudder gong shuffle shush sigh sizzle clap sizzle slam smooth snap snick sniff whip snip clank dance growl clap pop clash beep clatter haha spark pooop bah bam humph bang wham whee bang whimper slash whine whip gurgle whirr aaa whirl grunt whisper gargle gasp giggle bawl gloop dong grind groan whoosh bash whop beep whizz blubber woof pitterpatter plok plop plunk chomp pong drum pop clang blag blang crash loop creak blare blast bleat aaah bloop blurt thump blurted thump burp crumple buzz blurting boing grrr creake grumble crack gulp swag thump gurgle hum gush hack tick hah bonk hiccup hiss hmm bark flick bash chattercchirp bawl hurrah blare cock-a-doodle-doo cuckoo hiss vroomvroom hubba meow swish moo neigh oink purr quack ribbit tweet warble abrakadabra throb achoo ahem slurp smack argh bawl beep belch whoop screech bing blab blabbed rip cock-a-doodle-doo hum cough screech crackle boohoo crisp croak slurp smack crunch slap slash yank slop slurp crunch sizzle cuckoo ding dingdong doink rustle drum roar echo eek fizz flash roar flop rumble peeyew flush gallop splatter wrrrr squelch squish nonono static rustle stomp puff swat bonk sweep whisper switch ring swoop moan swoosh throb poop thud zipper whizz thunder clank thunk thwap tick regurgitate tictoc clang ting tiptoe blare tong chug tremble pitter tsktsk tug twang jangle jingle yelp jollop kaboom saw kerplunk wuah klank knock laugh meow mew toink miew aaaaw moo clatter munch clop clout num cluck bump buzz clang belch clank popp tweet vroom whip click waaa waahhh wahh wallop bang warble whack hoonk whallop wheeze murmur neigh oink oooooh ooze ouch ow patter peep baaaam phew ping splash splat whistle whiz snort sob whizz whoa boink low bong bonk boo gurgle eew boom bowwow brush bubble bump roar belch shoosh rrrinngg clunk rustle ahaha scream clatter screech whisper shatter whirr sheesh mumble shine drip drop shiver blab carambah caw chitchat clack whoop click clink hohoho holler honk hubbub buzz toot-toot huh flutter hush icky itch pow quack quiver ratchet rattle crack ribbit yap yell yip zap zigzag zip zoom zzz
2109
2110# Cat. #21
2111A 36” x 36” REMOVAL TO THE LATHING OR SUPPORT WALL OF PLASTER OR WALL-BOARD FROM A WALL, 1968 MATERIAL: LANGUAGE + THE MATERIALS REFERRED TO
2112PLEASE DO NOTE THE WORK IS PRESENTED NOT AS A COMMAND OR INSTRUCTION. IT IS PRESENTED AS FACT (PAST PERFECT) WITHIN THE CONTEXT OF AN INSTRUCTION EXHIBITION.
2113
2114# Finding the Center of a City
2115The traditional notion for the center of London was Hyde Park Corner (distances were measured to and from this point. During the last forty years, London’s center has moved eastwards, landing on that old boundary line the River Fleet. King’s Cross is now the center of London.
2116To confirm this shift in the center of gravity, important (and heavy) pieces of civic furniture will have to be moved. This is an invitation to participants to visit the area around Hyde Park Corner and make a thorough survey of all the monuments and memorials. I prefer that participants do this work in groups of five so that they can then assemble and examine the audit.
2117Only six elements may be selected from the long list, all of which must be moved to King’s Cross. The task is to debate the merits of individual memorials while thinking very carefully about their precise resiting in the landscape context of King’s Cross*.
2118*Around 1835 a monument to King George IV was built at the junction of Gray’s Inn Road, Pentonville Road, and New Road, which later became Euston Road. The monument was sixty feet high and topped by an elevenfoot- high statue of the king, and was described by Walter Thornbury as “a ridiculous octagonal structure crowned by an absurd statue. The statue itself, which cost no more than £25, was constructed of bricks and mortar, and finished in a manner that gave it the appearance of stone “at least to the eyes of common spectators.” The architect was Stephen Geary, who exhibited a model of the “Kings Cross” at the Royal Academy in 1830. The upper storey was used as a camera obscura, while the base housed a police station and a public house. The unpopular building was demolished in 1845, though the area has kept the name of Kings Cross.
2119A structure in the form of a lighthouse was built on top of a building almost on the site about thirty years later. Known locally as the “Lighthouse Building,” the popular theory that the structure was an advertisement for Netten’s Oyster Bar on the ground floor seems not to be true.6 It is a grade II listed building.
2120
2121# Home do it
2122Take a broomstick and tightly bandage both the handle and the bristles with cotton gauze so that the bristles stand on end.
2123Take 35 decagrams of plaster and mix with the appropriate amount of water. Distribute the plaster over the entire bandaged surface. Take another strip of gauze and bandage the plastered work again. Apply another layer of plaster to totally cover the work.
2124Repeat this procedure once again and let the “Passstueck” dry completely.
2125The result of this procedure is that the object can be used as a “Passstueck,” either alone, in front of a mirror, or in front of guests. Deal with it however you feel suitable.
2126Encourage your guests to act out their intuitive thoughts for possible uses of the object.
2127
2128# bird meal
2129Pour 1 kg flour on a carpet so that the top is like a volcano crater. Inside this crater, crack one egg, a pinch of salt, a pinch of pepper, one spoonful of tomato paste, three tablespoons of olive oil, and gently whisk into a dough. From this, form a long roll, then roll it into a form like a snail. Let it stand until the next morning. Bake it at approximately 220 degrees, until it is edible, and feed it to the birds.
2130
2131# From “Toom and Esmett’s Book of Games”
2132Toom and Esmett is the way the village idiot in Ravenel pronounced Tom Wasmuth’s name and mine. These games and many more were played regularly during the long winter nights at the Chateau de Ravenel between 1963 and 1965, the heyday of the chateau as a haven for artists. (The village idiot was, of course, a wise fool, in the best literary tradition. A former meat-butcher, he returned to his native village airily deranged after years of internment in a Nazi prison camp. In his madder moments he would introduce us to his hundreds of children—the flowers in his garden with whom he carried on long, and incoherent, conversations.)
2133DRAWING GAME WITH RADIO
2134Place a pile of pencils, crayons, pens and markers on a table. Turn on a radio. Wait for the beginning of a song When the song begins, turn out the lights and begin drawing on sheets of paper When the song is over, stop drawing and turn on the lights. Compare drawings, with explications.
2135COIN GAME WITH BEER, FOR TWO PEOPLE
2136Go to a bar and order one beer. Flip a coin to see who pays for the beer. After the beer is paid for, flip again to see who drinks the beer, Continue flipping and drinking. And not-drinking.
2137GAME WITH THE MONTHS OF THE YEAR
2138The months of the year are passed around a round table: The starter says “January,” and the player on the starter’s left says “January” and each player around the table says “January” in turn until the starter says “January” a second time. The player to his left becomes the new starter and passes February around the circle. After he says “February” a second time. The player on his left starts March around the circle. The game ends with December. (If a player makes a mistake, he starts the game again with January.)
2139GAME WITH BOXES
2140Each player is given an identical empty box. Players leave the room with their empty boxes for an amount of time agreed upon in advance. During this time the players put whatever they choose into the boxes. When the players return, the contents of the boxes are scattered about the room. Exhibition.
2141
2142exceptions hide the representation of the book they use severity as a point of contingency offer a sequel with concession as a point of departure double the content’s surface at the point of breathlessness an open truth will always enable naming and erase in passing the stymying of culpable content will preferably distance from the present the surrendering inhabitant of a defective earth his knowledge destroyed by the commandment of conclusion the copying of power suppresses the anger of imitation dominates insoluble writing approaches the uncontrollable eruption of utterance teaches imagery begins the process of warning distances itself for the entirety [of things] denies [itself of] my hand I rip apart the signature of the game of extraction a man has discovered neglected a letter opted for negligence a different version of time i deny that which is understood twist my tongue dread the admiration of the use of fashion in the fashionable instruction manual
2143gil wolman
2144march 6, 1995
2145the interruption in the textual binge turns the play on words on its head and outlines destruction in the meaning of the epic out of derision a text will abbreviate an individual history in the present any knowledge of mankind means the singing of a circus tale the theater of the circus diffuses murder through the profile of an accomplished individual representative chance pleasure pronounces the absence of a blind voice and the disappearance of restrictions
2146gil wolman
2147march 7, 1995
2148
2149# Untitled
2150Put on a pullover—but don’t stick arms or head through the normal openings—squat down and pull the end of the pullover down over your knees and feet. In this position, endure for 20 seconds.
2151
2152On the same day, all art museums, galleries, art centres and any physical space related to the exhibition of art will showcase my work. If this project can be realized, the person in charge of “do it” should contact me as early as possible, as I need to make preparations. I am Xu Zhen. Thank you.
2153
2154# Grow the Century-Old Tree Once More
2155Cut off the roots and branches of a tree that is about a hundred years old or so, until the tree is about 10 metres tall and the width of the roots are about 1.8 metres. Then move it from its original position to a new environment, and begin by inserting one root into the soil. Let it take root and germinate, and slowly grow into a large tree.
2156Risk factor: 30%–50%
2157Addendum: Unfortunately the tree has died and has become a block of timber. Nevertheless I will make a cabinet and some chairs from it. This is still considered as “do it”.