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Novel

Alun Rowlands

Anyways, while writing ”the non-productive attitude“ I felt quite productive in fact and it seemed to be such a long time away when I was doing what I understood as non-productive experiments. Experiments, because instead of doing so, I had on the contrary an almost theological belief in the redeeming qualities of productivity. But as someone, maybe someone like a nature scientist, who is trying to prove the existence of some hidden quality, I believed that in order to prove its central quality, I would first have to exclude this quality of productivity from its context and see what happens without it. It is stupid to ask what is an artist and even more so, what is art, I thought kind of naïvely, but it could be interesting to ask, if one or I would be an artist even without making any work or any object. Could one still call this existence an artist? Or, as I learned later, isn’t the artist who does not provide any productivity not slowly becoming the disparate person who is left by all his virtues, slowly falling apart and corrupting slowly all of his self soon as well? And isn’t the one artist, even not so talented, but never leaving the ways of productivity the one who will stay strong and alive until his last days? It is no pleasure to meet these artists who aren’t able any more to talk about their interests or about their production, fall instead into the traps of gossiping, the traps of obsessive control behavior or even into deadly envy? Still I questioned the old mechanism, that the only way to prove or even to detect the existence of an artist is his evidence of productivity. So the question was how to detect an artist in the millions of other people even if he or she is not showing the evidence of productivity. I was interested in this experiment too seriously, probably because of being a bit too young too late, particularly in the idea of being the scientist who uses himself for his experiment, as I thought that was what art is about, proving something by putting your one self into danger and exposing yourself badly with it. If you focus a few years on this situation of course you stop worrying about productivity, but you sacrifice your credibility for the rest of your life.

Josef Strau, What Should One Do, 2011, Novel S.C Issue p. 10-14

colophon

Alun Rowlands

Novel
S.C Issue

Edited Alun Rowlands & Matt Williams//
Designed Chad
Kloepfer//
special issue of NOVEL published as an insert on the occasion of ‘Time Again’, Sculpture Centre, New York, 2011//
pp. 33

ISBN 0-9703955-6-6

p.1 Barry MacGregor Johnston, Psychic Curfew, 2010//
p.2 - 6 Emily Wardill, The Diamond (Descartes’ Daughter) 2010//
p.7 Mark Leckey, Fiorucci Made Me Hardcore 1999//
p. 8 - 9 Charles Atlas, Blue Studio: Five Segments 1975-6//
p. 10 - 14 Josef Strau, What Should One Do, 2011//
p. 15 Charles Atlas, Blue Studio: Five Segments1975-6//
p. 16 - 28 Ed Atkins, Defiant Delight: The Freedom of the Dilettante, 2011//

Novel at Live Archive, New York Triennial, New Museum, New York

Alun Rowlands


Novel featured in LIVE ARCHIVE 8th April - 5th July 2009 which is a part of the exhibition THE GENERATIONAL: YOUNGER THAN JESUS at New Museum, New York. Organized by Brian Sholis, LIVE ARCHIVE will serve as a research platform, discussion venue, and repository of international periodicals, films, and music created by or documenting this generation.

In the events and cultural milestones included in the Live Archive historical timeline represent some of the cultural and world events that influenced the artists featured in “The Generational: Younger Than Jesus”, the zines, magazines, and artist’s books complied here examples of how this generation has processed these moments. Independent publications like these have proliferated since 1990s, as desktop publishing software and independent distribution networks made making and sharing alternative viewpoints easier in international communities.

In these networks, the boundaries between consumption, production, and distribution dissolved. The media savvy is often recognized as defining characteristic of the Millennial Generation, but personal agency and initiative are less often discussed, though are equally important. This installation showcases the diverse visual-culture influences and production of the generation and its overlapping international dialogue. As the curators turned to a network of art-world professionals to recommend artists for inclusion in “Younger Than Jesus” so this collection of publications, all released in the last few years, was organized through the counsel of a handful colleagues and friends around the world.

Novel in Beyond Kiosk: MODES OF MULTIPLICATION

Alun Rowlands


Initiated by Christoph Keller, publisher and designer who founded, at the beginning of the new millenium, Revolver editions, Beyond Kiosk – Modes of Multiplication is a travelling exhibition dedicated to independent publishing in the fields of contemporary art, design and graphic art. He is extending the Kiosk project, an ever evolving, travelling archive which today includes some 6,000 publications, artists’ books, magazines, videos and audio media linked to contemporary art, which has journeyed, since 2001, between over 20 institutions throughout the world, amongst which are the
Mudam, Luxenbourg ,Frankfurter Kunstverein, Witte de With in Rotterdam, the ICA in London and Artists’ Space in New York. Kiosk is now presented, in a permanent manner, at the Kunstbibliothek, Stiftung Preußischer Kunstbesitz in Berlin.

See: Kiosk: modes of multiplication : a sourcebook on independent art publishing, 1999-2009 edited Christoph Keller, Michael Lailach, JRP Ringier, 2009 
ISBN 3037640758

Alun Rowlands

RH Quaytman on Flickr.R.H.Quaytman
Chapter 10: MIller’s photo of Asher Screening Installation with Edges, 2008
Silkscreen on Wood

RH Quaytman on Flickr.

R.H.Quaytman
Chapter 10: MIller’s photo of Asher Screening Installation with Edges, 2008
Silkscreen on Wood

Alun Rowlands

Novel at dependance on Flickr.Novel at dependance
‘Novel,’ the exhibition, gathers a selection of works by past and present contributors to ‘Novel,’ a publication project and collection of artist writings, edited by Alun Rowlands and Matt Williams. …

Novel at dependance on Flickr.

Novel at dependance

‘Novel,’ the exhibition, gathers a selection of works by past and present contributors to ‘Novel,’ a publication project and collection of artist writings, edited by Alun Rowlands and Matt Williams. As one of the publications aims is to gather various forms of non-academic texts and poetry oscillating between modes of fiction and criticism, the exhibition at dépendance attempts to bring the focus away from writing as a parallel activity, back to art objects.

New works by Bernadette Corporation, Michaela Eichwald, Gareth James, Sergej Jensen, Oscar Tuazon, Nicholas Byrne and a collaborative work by Simon Thompson & Cheyney Thompson, join works by Henri Chopin, Henrik Olesen, Josef Strau, Merlin Carpenter and Nick Mauss.

Organized by dépendance the exhibition 10 September – 16 October 2010, commemorates the launch of Novel’s Issue 3.

dépendance
varkensmarkt 4 rue du marché aux porcs
brussel 1000 bruxelles
www.dependance.be