Punter’s Club, 2001: the set started when he threw himself against the wall, amplified of course. The crying began then didn’t stop. He hit the microphone repeatedly with his forrid, initiating a hypnotic rhythm with intermittent irregularities, frizzy hair jagged. The ritual had begun, everyone was in. After a sustained 10 minute crescendo, Rizili went out into the street, using the pole outside Joe’s Garage the same way as he used the microphone. The crowd followed, bystanders were agape. By the time he ran down Brunswick St, wheezing at an alarming volume, the club was going off, everyone high on possibility, amazed to be there. The set kind of ended when no one knew where Nik was.
I’m writing in Berlin, it’s raining and I was going to go to a gig tonight, but already knew what it sounded like so I didn't. The avant-garde has auto-dissolved once again, at least in this town. Gig’s like Rizili’s don’t happen here, and if they do they’re documented into a tidy art-history oblivion, contextualised into suffocation, given no room to stand free and for themselves. There’s no Berlin MS: a Menstruation Sisters gig comes off genuinely unhinged, pure animal energy distilled into sound.
These drawings capture the unnameable energy of those gigs, an astonishing nexus of detail and mess, a mutation of reference and alterity, another lineage of thought altogether. The visual articulation of the psyche, the clarity of form, its explosion into these exquisite beauties shifts our perception of what figurative drawing can be. These images could only gestate in the most disciplined and isolated of minds, living in stern denial of the comfy pull towards corporate arts hell, creating space to quietly formulate ideas that transcend any concept of relation or community.
Anthony Pateras, 2018.
Publication date March 15th, 2019.
Prepublication orders will be shipped on March 15th.
2nd edition re-print of Marcus Whale's book Devotionals, with an introductory essay by Jonno Revanche.
With thematic forbears in Genet, Cooper and Wojnarowicz, Devotionals looks at multiple forms of desire through both subjective and objective lenses. Lines are crossed, or unseen - and utterances, instant messages, and human senses interact to procure a new experience. Devotionals is all at once subversive, sexy, beautiful and strange.
Read it on your pillow, with the lights down low.
Marcus Whale is a musician, writer and artist living in Sydney. This is his first collection of poetry.
Upright in the Field recalls a series of recording events, read as absurdist memories of the artist's negotiations, triumphs and pitfalls of attempting to capture the aural qualities of various environments. Through this series of ascending vignettes, we encounter descriptions of the author’s investigations of a space and time indeterminate – although one that is very much in motion and engaged with the notion of creative ‘work’. The thirty-two pieces that make up the book intermesh all kinds of performance, sounds, measurements and absurd objects, bringing to mind playful elements of Fluxus, Georges Perec, Kenneth Goldsmith and Anne Garetta.
We are forced to consider through the act of reading, the laborious nature of artistic practice in which the moment of creation is often hidden in the ‘final’ work. The finished ‘object’ obscures and negates this experimental practice from the ‘field’, which is often the most fertile and problematic stage of the creative process. Each page comes across as a succinct micro fiction, akin to the narrative structure inherent through Georg Christoph Lichtenberg’s Waste Books or the novellas of Robert Walser.
Considering Hopkins' assorted explorations of word and sound relationships across drawing, video, sound recordings, objects and performance Upright in the Field situates itself as poetic log-book of the research undertaken in these 'laboratory' based disciplines. Reporting from the front line of the artist's memory during the act of production itself, Hopkins engages us with notions of toil, the often ‘placelessness’ of place, labour as creative exertion and the often overlooked banality of the art action.
UK/ Europe copies available through penultimate press: https://www.penultimatepress.com/product/mp-hopkins-upright-in-the-field-book/
Melbourne copies available through World Food Books: https://worldfoodbooks.com/
An Interview with MP Hopkins by Angela Garrick, about Upright in the Field https://subbed.in/ibishouse/666/uprightinthefield
Piss brings together an illuminated collection of poems by Sydney based author and musician Jack Lee. Known for his work in Beef Jerk, solo albums, and other more experimental incarnations, this small book presents a continuation of his thematic lineage in written form. The contradictions and confusions of the Australian continent are revealed through fascinating passages dually critiquing and confirming antipodean identity and one's sense of place. Lee's work reflects upon the nature of luck, hedonism, but also the sense of the downtrodden and geographic isolation that the Australian condition has to offer.
Encounters is a collection of the lyrics and poetry of A.Bermuda, compiled into one small volume. In the spirit of the great Marion Milner, Encounters reflects trace memories, fragments of long travels, retrospective moments and early lyrics - transposed, morphed and reconsidered.
The book is perfect bound, A5, limited to 100 copies - All signed and numbered by the Author.
"plays out like the re-telling of a surreal dream " - Nathan Roche