Janet Jones : ‘Notations’ Series (Collages)

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‘Notations #41′
6 x 6 inches
Collage
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‘Notations #7′
6 x 6 inches
Collage
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‘Notations #48′
6 x 6 inches
Collage
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‘Notations #21′
6 x 6 inches
Collage
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‘Notations #37′
6 x 6 inches
Collage
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‘Notations #42′
6 x 6 inches
Collage
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‘Notations #39′
6 x 6 inches
Collage
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“My series is called Notations, and reflects my love of letter forms and typography, of words and language, and a delight in the visual and tactile properties of old books and documents, especially those that are creased, stained and foxed. I’m interested in surface variations and the play of light on shiny areas contrasting with the velvety softness of old papers. In a larger sense, they’re about communication, nuance and layers of meaning. I’ve stencilled some letters in shiny etching ink, occasionally adding metal leaf, and printed letterpress ornaments and a Chinese character. Some papers have been prepared by pouring and splattering India ink. The tiny photographs are my mother at ages 20 months, 3 years, and 25. Other images are from dictionaries and old steel engravings.” ~ JJ

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Janet Jones : Website

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Janet Malcolm : ‘Free Associations’ Series (Collages)

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‘Irretrievable Hippopotamus’
Paper collage
12.5 x 9 in
2011
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‘Temperature of World Cities’
Paper collage
13 x 10 in
2011
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‘The Sun with Spots Big Enough to Swallow the Earth’
Paper collage
10 x 8 in
2011
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‘External Influence’
Paper collage
9 x 9 in
2011
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‘Rabbit’s Ear’
Paper collage
9 x 9 in
2011
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‘Six Intercourses in Succession’
Paper collage
7 x 6 in
2011
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“Last winter, I came into possession of the papers of an émigré psychiatrist who practiced in New York in the late 1940s and 1950s. The archive included a collection of manila envelopes, around six by ten inches, stuffed with folded sheets of thin paper covered with single-spaced typing: the notes the psychiatrist made after seeing patients in his office. As I studied the sheets with their inky typewriting and 60-year-old paper clips holding them together and leaving rust marks on the surface, my collagist’s imagination began to stir. I began to “see” some version of the collages on view here. The scraps of paper I collect are largely black and white (preferably yellowing white) and have an archaic and melancholy air about them. They hark back to the 19th century and its technological and scientific vernacular. The case studies, with their sad old appearance, were of a piece with this backward-looking aesthetic. Further, in their sometimes almost parodic Freudian interpretations, they summoned a period in psychiatry that is as remote from today’s practice as the manual typewriter is from the Macintosh computer. These collages arose—I’m not sure how—from this encounter with the past.” – Janet Malcolm

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Janet Malcolm : NYR Blog

Janet Malcolm : Lori Bookstein Fine Art

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Jessica Houston : ‘The Times’ Series (Paintings)

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“My work is an investigation of ephemera and transformation of the everyday. I often use found materials that either reveal or subvert underlying formative principles. Whether I’m painting over newspapers, making installations from objects collected in the Arctic, intervening in public spaces, or inviting scientists to interact, I am driven by subtle shifts in perception and a rearrangement of form. I’m drawn to the fleeting experience that allows for impermanence, chance, unpredictability and tenuous stability. I’m looking for the possibility of revelation through simple means, a place and a moment where now. dissolves into always, and always into now.” - Jessica Houston : Artist Statement

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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2007
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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Since 2006 I have been painting over newspapers adhered to wood panels – obliterating, whiting out, and rearranging the page. Working within the existing grid system to reveal and ultimately, undermine it, the act of painting echoes the ways in which the media selects, eliminates, and frames information. The paintings subvert and transform language, and create a new form made of line, mark, measure, and composition. In their multi-layered process of making these paintings become palimpsests, a place where chance and time collide. Alongside the trauma, beauty, and calamity of the everyday world, there is the possibility of silent observation. I also paint portraits of people from the newspaper. THis is largely a response to Susan Sontag’s ‘Regarding the Pain of Others’. I paint as a process of re-presenting the form, the information. In an era of information overload, painting offers a very different kind of response to the news, a human response, of the hand and the heart. – [Extract : J.H. Website]

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Jessica Houston : Website

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Y SIN EMBARGO magazine Last/s, #29 (new! published!)

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If communicating means to put something in common, is it possible, today, at the height of

the era of communication, putting something in common? Or all we got are monologues?

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ON PAPER / READ ONLINE

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About this issue………Seven years of a periodical and independent publication is perhaps both necessary and long enough a time to verify or put into practice a set of ideas, wishes and adventures.

YSE closes a cycle, but doesn’t close (neither literally nor metaforically). New situations, new circumstances and, most of all, new wishes and interests consume and demand the always limited well of time and energy. We have grown in this seven years without any kind of sponsoring, there was never a financial support or even modest underpinnings to give any logic of survival to the publication.

Everything has been done on breathhold, in a respiratory exercise, at times painful, even if oxygen (of course intangible) always managed to be there in the end. Nevertheless these are times of generalised asphyxia and sometimes – even though nostalgia or stubbornness exert their seduction- it is necessary to dry dock the boat, caulk and face different courses. We will go on…….but we will be other.

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edit, direc & comple by fernandoprats

art direc & desig by Estudi Prats

virtual soport by Rivera Valdez

biotranslations by Alicia Pallas

video by Raquel Barrera Sutorra

music by Albert Jordà / Nevus project

almostopen_by manuel alcaide mengual

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from

roman aixendri manuel alcaide mengual brancolina wilma eras oriol espinal ezook rosa delia guerrero manuel diumenjó h.o. kozology françoise lucas juan pablo sáenz graciela oses alicia pallas carlos pataca leonie polah fernandoprats miguel ruibal nirvana sq jef safi alain vaissiere dou_ble_you azure_b

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from

a coruña, amsterdam, antwerp, barcelona, bielefeld, buenos aires, campredó, dundee, grenoble irapuato london, mar del plata, méxico d.f. nijmegen seattle sevilla tarragona terrassa toronto toulouse

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Thanks to all those who have been reading and watching.
Thanks to all those who take and took part.
You’ll be hearing from us.

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ON PAPER / READ ONLINE

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Y SIN EMBARGO magazine #28 : me/END/you (independent)

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Y SIN EMBARGO magazine #28, me/END/you (new!, free, independent)

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ON PAPER  /  READ ONLINE

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Concerned with being constantly updated, with obtaining the latest model of who knows what, with wearing the badge of the modern, informed, up-to-date consumer.

Undermined by ubiquitous messages that insist in reminding us that there’s always something better, that what we have is nor will never be enough, is bound to be old, of the last season or, which is the same but not, of centuries ago, which in consumption is equal to an era.

What if we decide not to be?

What if we decide not to run in pursuit of a future made into a gadget, a SUV or a trendy shirt?

It’s then that we realise we’re forced. That was seemed an option is nothing but a way to mask the fact that the objects themselves force us to discard them.

-They have a voice of their own and take command.

The operating system is no longer compatible with the software we need to install, the laptop does not have the required input for the new peripheral, the Ikea table didn’t resist the move, the soles of the shoes we bought last spring have come apart.

All of this thoroughly programmed to support a system that in turn supports us. To keep a job, to support the job of those who support ours, to not break a cycle of purchase-disposal-purchase beyond which we panic just to look.

And while we once again prepare to update, we fill up the trash bin with wasted resources. We dispose of the work of others: work designed to be thrown away. Objects with a programmed expiration date, which serve their only function without errors or delays: to make sure we remember to make our next purchase.

Is this the only way to keep the cycle?

How long will resources be able to support a race without (a) finishing line(s)?

Will we wait until then to imagine alternatives?

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edit, direc & comple by fernandoprats

art direc & desig by Estudi Prats

virtual soport by Rivera Valdez

biotrans by Alicia Pallas

video by Raquel Barrera Sutorra

music by Albert Jordà / Nevus project

almostopen (now also on the ipad) by dou_ble_you

tapcover & back: ‘Recycled memories’ & ‘Keep in touch’ images by Brancolina

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with…Roman Aixendri, Vivi Cecilia Atencio Arrojas, Brancolina, Hernán Dardes, Wilma Eras, Oriol Espinal, Rosa Delia Guerrero, Thomas Hagström, H.O., Kozology, Françoise Lucas, Graciela Oses, Paula Palombo,
Alicia Pallas, Leonie Polah, fernandoprats, Miguel Ruibal, Jef Safi, Susan Wolff and dou_ble_you

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from… a coruña amsterdam antwerp barcelona buenos aires campredó grenoble

hispalis irapuato london mar del plata nijmegen struer tarragona terrassa toronto

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ON PAPER  / READ ONLINE

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Y SIN EMBARGO magazine #27 : in-significant

Y SIN EMBARGO magazine #27, in-significant (new!, free, independent)

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READ ONLINE

ON PAPER

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(sh)

in-significant

Not even things but the discourse on things.

Not even interaction with the object but just with the discourse on the object.

Absence of significance in an Empire of signifiers.

Rhetorical update: Surfer discourse not defending any stance, just suspecting.

Bottomless surfer, dissections by a forensic surgeon of the senses.

Sublimation of languages?

Apocalyptic deconstruction?

Waste management at the end of the game?

What do we speak about when we speak? What do we refer to?

Do you know what I’m talking about?

The medium turned into massage.

When the message from the medium is just the massage of discourse.

Massive addiction to the daily soma of a “renewed” discourse, a distracting one, without consequences or content, paradigmatic on mass-media and social networks.

Words and things.

What names and is named, cultural conventions, significance-signifier-jingle-label.

Channel as the bearer of uncontrollable noise.

At a higher level every day (as this formula is understood in programming) and further from objects and phenomena?

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edit(ing), direct(ing) & complements_
fernando prats

art direct(ing) & design(ing)_
estudi prats

colacao & ordenaciones_
rivera valdez

biotranslat(ing) & reflejos_
alicia pallas

(h)original music_
albert jordà / nevus project

(h)original video_
raquel barrera sutorra

front cover(ing) index_ players

open(ing) in-troduction_ alain vaissiere

clos(ing) macbeth_ leonie polah

back(c)over(ing) discourse_ thomas hagström

…from

roman aixendri
azurebumble
hernán dardes
manuel diumenjó
wilma eras
oriol espinal
ezook
thomas hagström
h.o.
kozology
françoise lucas
jorge montecof
graciela oses
alicia pallas
leonie polah
fernando prats
beatriz giovanna ramírez
miguel ruibal
juan pablo sáenz
jef safi
nirvana sq
alain vaissiere
susan wolff
dou_ble_you