Global warming hot and tropical
- May is still in charge, though of what it is hard to say.
- Boris’s mouth is still foul, though no longer from the cabinet .
Nick Srnicek - Platform Capitalism (2017)
Adriana Cavarero - For more then one voice (2005)
Sarah Ahmed - Living a feminist life (2017)
Brandon Labelle - Sonic Agency: Sound and emergent form of resistance (2018)
“For what was once fictional is now the social” Gary Genosko (In the shadow of Mcluhan – A+D, The Multimedia text, 1994)

On archiving and being factually truthful

9th August 2017

-- It has been a year since my last entry on what is becoming more of a newsletter then a blog, an online chronicle in image and text, a written and visual summary of one’s life as it has happened, perhaps a preferable alternative to the many newsletters that get lost in my busy mailbox since it is always here on my website when required and provides in one place all the required links to documentation and recordings on this website and elsewhere.
As I contemplate what to include and what to leave out, i get distracted by hearing the rain falling on the glass roof of my conservatory and watching the garden gaining some healthy green color after these past two months of extreme heat, the hottest I have seen it in over thirty years in London. While I have been enjoying it all and making the most of it, no complaints my end, I can't help worrying about what it means in terms of global warming and how little is done to take it seriously. An even bigger disaster in the making then what awaits us with Brexit ...
Having said this it has been the perfect summery way to conclude what has been a very busy and exciting year of performing, writing, giving workshops and artist presentations, improvising, mentoring and above all trying to embrace having become a composer (of language) almost overnight.

O(nly) - John Eyles, Ryan Dohoney, Alex Mah, Andre O. Moeller - Klangraum 2017, Düsseldorf

The Music of Speech

-- Last July I launched an Ode (owed) to O (Edition Wandelweiser) at Klangraum 17 in Düsseldorf with daily public reading of (Story of) accompanied each time by either Antoine Beuger (flute) or Andre O. Moeller (objects), a performance of O(nly) with an all male ensemble; John Eyles, Ryan Dohoney, Alex Mah, Andre O. Moeller (voices), Assaf Gidron (cello), Antoine Beuger (flute) and O(hh) performed by Tomma Galonska and John Eyles.
In this work I have perpetuated the fascinating literary journey of an infamous litterary work from one act of deleuzian deteritorialisation of language to another.; from love letters to erotic literature to conceptual writing and concrete poetry (Reading (Story of) O (Uniformbooks (2015)), to verbal score ( O(nly), O(hh) ) to experimental music (an Ode (owed) to O ). I had often performed my scores with others but this occasion represented the first time that I was not involved at all, a very peculiar experience indeed.

--I am just beginning to comprehend and articulate the various lines of escapes that have led to this or for exemple to discuss my practice and use of voice with a room full of PhD musicologists at North Western University in Chicago in May. I started using my voice in 2000 after securing major funding to explore the implications of the voice in my artistic practice for one year thanks to a One To One - Individual Artists’ Bursaries in Live Art 2000/2001 from the Live Art Development Agency.
Since then it oscillates between orality (bearer of language) and vocality (the act of vocalising independently of language), between the semantic and the somatic. Though what has changed over the years is the contexts within which I have found myself operating, (conceptual art, photography, live art, experimental music) though always on the edges, and the balance between the visual and sonic content of the works. I started with the two dimensional field of the image, the written word and the page in the 1980s, then bringing in performing or adding sound to visual and textual pieces in the 1990’s then from the mid naughties, turning textual pieces into sonic or musical works.
No doubt that this evolution has been greatly influenced by my initial encounter in 2006 and evolving connection with the Wandelweiser community of composers, musicians and artists that has led to some important friendships and provided along the years an inspiring, supportive and highly critical environment within which to develop and share ideas and works.

Truce scroll (detail) - 1999

-- This major shift has prompted me recently to revisit earlier textual / vocal projects such as TRUCE (2000) , SLOW MARCH (2001) based on Fluxus style text score/ and semantic deconstruction or repetition of certain words or phrases. I was very surprised to realise that I am resorting now to similar conceptual and graphic strategies as I was then and that although musical for sure I never thought of these works or referred to them as music but as performances and installations. Though I am now very tempted to revisit some of them as musical composition in their own right.
The function of speech can be reconciled with that of music when it evokes tribal mythology". Claude Levi-Strauss , Cape London (The raw and the cooked, 1970). I came across and kept this quote recently as it may provide some clues towards how my use of speech became musical, perhaps through the rituals of performance I am attached to and my tendency to reduce texts and words to their most basic constituents (phonemes and letters) and/ or primal essence.

BOUCHE BÉE - Mopomoso afternoon sessions @ The Vortex - 17/O6/18

Bouche Bée

Bouche Bée (a French phrase that translates as "open-mouthed, gaping, gawping) was formed in 2005 as a duo with Finnish artist and musician Petri Huurinainen on guitar, focusing on free and structured improvisation around my vocal repertoire of extended human inarticulation and non-verbal sounds where my speech is led by instinct, emotions and the unconscious impulse of the body.
In 2015, we met saxophonist John Eyles when we were all involved in a performance of Cornelius Cardew's The Great Learning at Union Chapel in Islington. We began playing together, including at Eddie Prévost's Friday evening improvisation workshops, leading to John joining Bouche Bée and our first trio gig in June 2017. This year we continued our regular Thornton Heath sessions a couple of times per month, a few recordings are online here. This has allowed me to extend my repertoire of sounds, start using voice through amplified flute and experimenting with a one string indian folk instrument the ektara with contact mic.
We performed to launch Cosy Nook in August 2018, then for MoWo the Vortex, part of The London Jazz Festival in November 2017 then again at the Vortex for Mopomoso afternoon sessions in June 2018. Petri Huurinainen is now on a one year sabbatical until next summer so we will be taking a break for a while.

Cosy Nook flyer (detail)

Cosy Nook

-- Cosy Nook is the name of a rocky cove, cosy in name and size only, right at the bottom of New Zealand South Island, which is littered with gem stones polished by the fierce tidal waters. I visited it on 2 occasions this past two years, brought back a lot of drift woods and stones to share with friends and family and decided there and then that it would be a perfect name for a small cove in mighty Thornton Heath (South London) where we can celebrate being together to play, listen, share words, sounds and other gems, polished or unpolished. It is a private event by invitation only, curated around and in collaboration with one guest musician /composer / artist. Together we decide what will happen, where in my studio, garden, living room or conservatory, whom to invite, making sure to have a mixed audience and that there is plenty of time before and after the concert or performance to mingle and talk around the traditional Rajma stew and whatever else people bring. The first Cosy Nook took place on the 4th august 2017

Marie-Cécile Reber @ Cosy Nook 3 - 07/07/18
Cosy Nook with Bouche bée performed works by Antoine Beuger, myself and Christian Wolff (August 2017) - Cosy Nook with Antoine Beuger, (February 2018) was a listening experience of his forthcoming collaboration with Christian Wolff, Where Are We Going,Today,released by erstwhile records (March 2018). Cosy Nook with Marie-Cécile Reber, (July 2018) took place in the garden responding to the local flaura and fauna. Marie-Cecile and myself were the guest of Carole Finer Resonance fm show Sound Out on the 3rd July. Recording available here. Cosy Nook with Antonio Acunzo (August 2018) is a celebration of improvised music.

0(nly) @ café Oto - Emmanuelle Waeckerle, John Eyles, Alex Mah, Artur Vidal, Antoine Beuger, Petri Huurinainen - 22/02/18

"Speak// if you can”

-- The second Cosy Nook in February 2018 concluded Antoine Beuger’s visit to London and two days of playing together at café Oto on 22nd and 23rd February for Speak// if you can”: text, scores, performance, two evenings of performances of text based scores by Antoine and myself, realised by Antoine Beuger, John Eyles, Petri Huurinainen, Alex Mah, Will Montgomery, Artur Vidal and myself. Speak// if you can co-curated with Will Montgomery (with support from the Royal Holloway Poetics Research Centre and the University for the Creative Arts research fund) brought together a composer, a writer and several interpreters of text scores to explore the points of transformation and translation between text and sound building on George Oppen’s injunction: “Speak// if you can”; three of my works (story of), O(hh) and O(nly) from the Ode (owed) to O cd on the first evening and on the second a rare opportunity to experience Beuger’s solo performance of his beautiful whistling composition keine fernen mehr, followed by an ensemble performance of of being numerous, a composition built on George Oppen’s influential 1968 eponymous poem. Antoine, Will Montgomery and myself appeared on Carole Finer 'Sound out' on Resonance fm on the 20th/02/18 and finished the show with an impromptu performance. You can listen to it here

(story of) with @ Constellation, Chicago - 22/04/18

Ode (owed) to O in Chicago

-- The US launch event of Ode (owed) to O took place in April 2018 for the Frequency series a weekly Chicago event at Constellation curated by Peter Margasak that brings together contemporary classical, experimental and improvised music. It was performed by and myself, a Chicago-based performance collective founded in 2010 whose repertoire explores the indeterminacy of various musical elements including instrumentation, structure, pitch, and/or duration. This was a•pe•ri•od•ic first encounter with my work and the first time that an ensemble performed my scores. The same three pieces were performed (story of), O(hh) and O(nly), then at café Oto, yet to quite different results, thanks to creative choices made and instruments used. Nomi Epstein proposed to use balloons instead of instruments for the first work to great effect. Recordings are available here. This amazing opportunity arose thanks to the suggestion and support of Ryan Dohoney - musicologist at North Western university that I met the previous summer for the launch of the O cd at Klangraum in Düsserldorf, and who performed in it. This is also Ryan who invited me to present and discuss my work for one of his research seminar and introduced me to the work of Adriana Caravero.

Training the senses / walking @ Marres, Maastricht - 13/06/18

On walking

-- This year due to popular demand, I have been updating my bodythoughtbodytalk performance workshop which is about de-learning and being ready for new experience and perception of the body in space and time. I was invited to give it to students at Norwich School of Art in February. I borrowed some of the strategies for a workshop on Walking in Maastricht for the Training the senses monthly series at Marres, House for Contemporary Culture in June 2018.
We take walking for granted. We walk from, we walk with, we walk about... Walking is rarely the focus of its own doing.  This session co-led with dancer choregrapher Mami Azumi was about walking with all our senses, walking blind, walking slowly, restricted walking, so many ways to practice walking as its own journey where one may discover more about oneself then about a place.

Wandering (beginning) @ Die Station- 15/07/18

Composers meet Composers

-- My baptism as a composer, perhaps not of music but of language and of situations, would not be complete without this intense and inspiring mentoring week in July spent in Joachim Eckl very special creative hub and gallery Die Station in the middle of the Bohemian woods of Austria. Each participant spent one full day with each of the mentors, Antoine Beuger, Joachim Eckl, Radu Malfatti, Michael Pisaro and myself, walking, talking, playing, listening, creating, ….. In the evenings: concerts, readings, and performances, see details here.
How often do we have the occasion to spend a whole day with a like minded person ? and doing so every day for 5 days ! An amazing opportunity that will take place for the next three summers and possibly more with different mentors and participants, though places are filling up quickly. Do get in touch if interested.
A new textual score of mine was performed for the occasion. It is part of a series of poetic scores that will constitute CUMLUDERE the follow up to PRAELUDERE (ballades from the 20th century) and will propose various ways of spending time and playing (in all sense of the words) together. Wandering is a poetic text with lose performing notes, offering a wandering of feet, eyes, ears and mind that can be done in whatever order, a few times at a time, for as long as one choses to, inside (or outside) - alone (or with others) - with (or without) instrument.

Walking (with) Thoreau score (on screen detail) - 2018

Walking (with) Thoreau

-- In June and July also I have had the opportunity to collaborate with Swiss composer and musician Marie-Cécile Reber (field recordings, electronics) at the end of her 6 months residency in London and after her wonderful live composition for Cosy Nook playing for the flowers of my garden. I was invited by Ed Shipsey, like myself a regular of Eddie Prevost’s Friday improvisation workshop, to perform for Hard Work, an event he was putting together. I saw this as the perfect occasion to try out one of a series of new works I have been working on in parallel to the performing and launching the Ode (owed) to O pieces.
I have been experimenting with various ways of reading through and adding my deconstructive touch to Henry David Thoreau's transcendental lecture and essay on Walking, written between 1851 and 1860, that he regarded as a sort of introduction to all that he wrote thereafter. Part stream of consciousness, part preaching, he talks about the importance of walking, away from society and for its own sake, as an almost spiritual self-reflective spiritual practice.
In this first iteration of Walking (with) Thoreau, I have drastically reduced the original text to what I consider a few essential phrases and words. The instructions ask the performers to select carefully a few words and steps to take per page, each at their own pace. In this work as in previous ones, I make analogies between reading as a form of walking the page and walking as an act of reading space. Marie-Cecile used field recordings and live electronics to create a soundscape and a walking rythm that my voice was following and complementing with a few sentences, words and phonemes, sometimes spoken, sometimes sung. While it seems that we did manage to carry the audience with us in our sonic ballad, I feel that the recording of our performance do not convey that; we are planning new walks and recordings for the Autumn. I also intend to abstract the text further and streamline the various reading strategies proposed to readers and musicians.
Hard Work is an event curated and hosted by Paul Ingram and Ed Shipsey. Other performers were Amy Cutler, Iris Colomb, Montenegro & Fisher, James L. Malone and a guest appearance by Antonio Acunzo.

Becoming-one in the moonlight, Folkestone, 29 January 2018, 05:09 p.m.

T(w)o become One

-- Last autumn, Wiebke Lester from UAL and Joel Anderson from Central School of Speech and Drama have invited a few writers, photographers and performers to work collectively and in pairs for an edited volume of the Journal of Photography & Culture on “ The Theatre of Photography: staging, re-enactment and modalities of the frame”, exploring the intersection of photography and theatre, and takes their multiple encounters as an opportunity to consider and rethink the often overused or misconceived concepts of ‘performance’. I worked for a few months with Manuel Vason on a piece of collaborative writing and a series of performative photographs, where we became one in writing and in breathing, in real time and in photographic time in an extra-ordinary human and posthuman encounter. We devised a process of asymmetrical exchange, a monologue of two voices where the “I” speaking is sometimes male and female, Manuel and Emmanuelle becoming-one, Em-manuel-le speaking our attempt at merging photography, theatre and life and at merging our difference. It was a fascinating experience to try to do so, though becoming-one on the page proved less straightforward then doing so in front of a camera, which felt quite natural and enjoyable to both us. The journal will be out in the autumn. There will be a public launch where we may attempt to perform becoming one breath, one image.

Three fangs Mamba in the garden.

-- This conclude the summary of an exciting year. It took me a couple of weeks to document and archive all these projects and update my website and a couple of days to write this blog / newsletter under the watchful eye of Lady Sureflap, also known as Three Fangs Mamba. Not everything has been mentioned, it is interesting what one choses to include or leave out of one's (personal) history. Some projects or events have not yet been properly assimilated or recorded yet, others I prefer to leave out, to forget them or because they are too precious or too private.
I am ready for a small break and looking forward to another year of performing, improvising, writing, composing, drawing, collaborating, mentoring, hosting Cosy Nook and whatever else will come my way. I am clearer then ever that what I am interested in, in life, in art, in music, and in education is to focus my energy and talent on creating opportunities for playing, growing together, respecting and learning from each other, on experimenting with a creative togetherness to counteract the ruthless and opportunistic individualism that networked communication and global capitalism is forcing upon us. Thursday 9th August 2018, 16:55pm

hot, stormy
- May defends public sector pay cap while bribing the DUP 1 billion pounds to keep her in power.
- MOIblog is reactivated.
James Bone - the London perambulator (1925)
Nicholas Thoburn - ANTI BOOK (2017)
One day at a time

On being emotionally truthful

6th July 2017

-- It has been a busy few months juggling all kinds of interesting projects; my first CD, exhibition, publications, performances, round table discussion etc.. I could write a newsletter as so many artists do nowadays to keep their network informed. I thought instead that this could be the perfect occasion to revive MOIblog that has lain dormant for way to long.. since it is an online chronicle in image and text as a written and visual summary of one’s life as it happens or has happened. I kept it going from 2007 for 5 years. I had to stop when life suddenly became too challenging. I used to publish a limited edition yearbook THE YEAR ( volume 1 to 5), printing on paper the last 52 weeks of my online blog, complete with poster and dvd supplement. I have a few copy lefts and the pdf is freely available from MOIblog archive on my website.

As I contemplate what to include and what to leave out for another time, i get distracted by hearing Sir John Chilcot the chairman of the inquiry into the Iraq war, revealing a year after his report was released, that Tony Blair was not straight with the nation since he relied on beliefs rather then facts. Proving in many ways how pointless such inquiries are in providing real answers as well as justice. Hard not to think about the inquiry into the Grenfell Tower disaster. It looks like those responsible have nothing to worry about..

-- Ode (owed) to O

a double cd, recorded, mastered and with some arrangements by André o.Möller, that will be released by Edition Wandelweiser in July 2017.

You can have a sneak preview here !

Ode (owed) to O is is a bit of a concept CD, and my first one! It consists of reading through (CD 1) and reading from (CD 2) a book of words to a single letter, to breath and silence, navigating between erotic literature, conceptual writing and verbal score. It represents a follow up and conclusion, hopefully, of over 6 years of experimenting and meandering around the famous erotic novel Histoire d’O first published in 1954, under the pen name Pauline Réage.
In Reading (Story of) O published in 2015 by uniformbooks I reprinted, in parallel, both English and French versions in a graphic reworking of the original story accompanied by three further texts: (Story of) A, (Story of) E and (Reading) O, a series of instructions for reading alone or with others.

Ode (owed) to O contains recordings and arrangements of collective readings based on the (Reading) O instructions as well as Only and Ohh, 2 new scores for voices and instruments, attempting to release O from her inevitable end. Alone together, you aloud to yourself, your mouth moving O, your voice to those. Echoes of O, unbound for moment, of O, of you.

The CD will be launched at KlangRaum 2017 (18th -23rd July) in Dusselrdorf where I will be performing one of the scores daily accompanied by a musician. I am in the process of organizing a London launch and performing of the work for early 2018. Watch this space!

I am really thankful to Antoine Beuger for giving me this opportunity and for his continuying support and inspiration over the years, and to UCA research fund for contributing to the production.

-- The Lost Diagrams of Walter Benjamin

Danielle, Hazel, Katy, Antoine, Thomas, Walter and the others -­ one esquisse of protogenesis

A new publication edited by Helen Clarke & Sharon Kivland with essays by Helen Clarke, Sam Dolbear, & Christian A. Wollin, published by Ma Bibliothèque
ISBN 978-1-910055-36-6 - 120 pages - 205 mm x 140 mm Format: Paperback 2017

This is my double spread contribution to this great project; an arrow and bow from my childhood in Morocco pointing at a possible retrospective web of chosen and given connections that led me to this moment of reflection on WB lost diagrams.

“In A Berlin Chronicle Walter Benjamin describes his autobiography as a space to be walked (indeed, it is a labyrinth, with entrances he calls primal acquaintances). The contributors to The Lost Diagrams respond to the invitation to accompany Benjamin in reproducing the web of connections of his diagram, which, once lost (he was inconsolable), was never fully redrawn.. Their diagrams, after Benjamin, are fragments, scribbles, indexes, bed covers, and body parts.” (press release)

The Lost Diagrams of Walter Benjamin will be launched next week at Miss Read, the Berlin Art Book Festival 2017 and available thereafter from Anagram Books and Ma Bibliothèque for a modest £12.50

-- Armel Beaufils, le Regard des femmes

An exhibiton and accompanying publication curated by Sharon Kivland for
FRAC de Bretagne
Presbytère, Saint-Briac-sur-Mer France - 1/07/2017 to 1/09/17

I am one of 40 women artists invited ‘to respond (indeed, correspond) with a work, a plaster model, by the sculptor Armel Beaufils (1882–1952). I was allocated Jeune fille assise un pied dans l'eau (sitting maiden with one foot in water). The form of response/correspondence is constrained only by the size and two-dimensional nature of the wall panel exhibited alongside the plaster model, and of the pages of the book accompanying the exhibition, bringing together our response with a photograph of the work to which it refers.
I proposed a double self portrait Femme argile (ou le plaisir d’y tremper un peu plus que le pied), Clay woman (or the pleasure of dipping a bit more then one’s foot)
Documentation to follow shortly.

- Rethinking Interaction in the Post-Digital: A Roundtable Discussion

5th June 2017, 10.30–18.30, Mayday Rooms, London

James Trafford and I hosted a day long bookRoom event at the great MAYDAY Rooms.
The format emphasised discussion, cross fertilisation, and significant engagement with the central issues being developed around the topics: post digital publication, participatory & collaborative models, modes of engagement and art-production, digital & post-digital forms of political engagement, algorithmic norms etc..
We had 6 discussion starters, from Diann Bauer (Xenofeminism), Alessandro Ludovico (Neural), Luke Pendrell, Nick Thoburn (Anti book), Nick Thurston (information as material), and Inigo Wilkins (Irreversible Noise), preceded by a summary and reading materials sent out to all in advance. Other participants were Danny Aldred, Ami Clarke, Peter Fifield, Lynda Fitzwater, Lee Holden, Mark Hudson, Matt Johnston, Adam Knight, Kaja Marczewska, Mason Terrill, Manuel Vason.

We are aiming for some sort of post event publication around a “reflexive report” of the day by Michael Hampton (Unshelfmarked - Reconceiving the artist book). A delicious vegetarian lunch was provided by Ela Circieska in the Mayday rooms kitchen.
Details of the program

- Jungle fever in Athens

for Gestures of Resistance
Romantso Cultural Centre, Athens, Greece
Exhibition - 20th to 30th April 2017 - Procession Sat 22nd April

I contributed a JUNGLE FEVER in Athens map and two JUNGLE FEVER banners to a project curated by Jean Wainwright. The map refers equally to one's mind and body, or the city itself as potential sites for gestures of resistance as well as to the itinerary of the procession. The instructions provided on the back of the map elude to a playful and creative approach to protesting but to life as well; as acts of resistance against ruthless capitalism and consumerism, as ways of changing the world without wanting power, in the words of John Holloway. Some of the slogans have been inscribed on the 2 banners used in the procession.

- Bouche Bée

Bouche Bée was formed in 2005 as one of the outcomes of VINST, a project exploring the body as language and the interplay between the real and the virtual world. Petri Huurinainen on acoustic guitar and objects and myself on voice, tabla and objects, have been performing and improvising on the edges of language as a duo for the past 10 years.

We have recently been joined by John Eyles on saxophone. Becoming a trio has brought all kinds of new ideas and depth to our project and repertoire. After a few promising sessions in mighty Thornton Heath we had our first public outing on the 23rd of June in the House Mill, a wonderful listed 18th century tidal mill in Bromley by Bow, for Dark Art Circus, an event hosted by Peter Kennedy. We played a 20 mins set, in the courtyard after night fall with a fantastic London skyline and the river Thames behind us, birds responding to our sounds, a heron flying over us. The recording will be uploaded on our website soon and we are planning more dates for the autumn.

The London skyline from The House Mill in Bromley by Bow

wintery, windy
- UK flood alerts
- MOIblog is reactivated
Nanao Sakaki - How to live on the planet earth
One day it will be over, it is not sad, it is a fact (of life)

A page is turned again and again and again

6th Jan. 2014

May this year bring us more joy more peace less mindless consumerism and some good times together. Or here is to “ carrying on and doing what we can while we can... “ A much more appropriate and accurate wish perhaps.

--- 2014 is finally here, complete with new year resolutions that will not be kept and great relief that 2013 and the festive season is over. I took a MOIblog gap year, time to become officially menopaused and accompany both my parents and Isabelle to the other side, not necessarily willingly or in that order. It has been a very difficult and life changing twelve months. All my life I have felt quite mature and grown-up and have had my fair share of ups and downs but only now do I really feel like an adult. Becoming an orphan at fifty one is very reasonable, though losing both within nine months of each other (to the day, Paulette 28/12/2012, Henri (28/09/13) is a bit too much. What is more difficult is to feel so little prepared or apt at dealing with death, emotionally, psychologically but also practically. After all this is the only certainty we have in life, yet it takes us by complete surprise and everything becomes so dramatic and complicated, and extremely expensive! I never thought dying could cost so much, such a racket there. I think it is quite different in other cultures, but in the West we may be very sophisticated when it comes to living and consuming and having a good time, but nothing ever prepares us for our or other's death. it is also difficult to share or discuss it candidly with the 'living' since it automatically creates a gloomy or embarassed atmosphere or triggers fear and anxieties. It is not true of everybody of course, those who are or have been through it already are often keen to share and compare experiences. This usually leads to beautiful conversations.

-- So here i am again, more mature, still bruised and grieving but slowly coming out of a state of shock followed by a long period of self induced isolation on automatic pilot. I am starting to be able to look outward and forward again. I have spent the Christmas break here in London, catching up with archiving and documentation; JUNGLE FEVER in Ahmedabad and Neufelden, FLUSSAUFWAERTS#3 this summer, BdeM hat collection and of course my website and MOIblog.
I am rejoicing at the familiarity of the gestures required to do this. It is painful to look at some recent images from which so many are no longer around, my 50th birthday party for exemple, who would have thought that a few months later three of them would have left us, same with the BdeM hat collection. I have just made a video from some of the images, to use as a complement / advert to the book i am starting to make with 100 photographs of my knitted hats worn by their new owners, taken since i started in 2007. i now have quite a few close people on the other side, in order of disappearance Bernard, Kathy, Isabelle, Paulette. I have decided to dedicate a wall of my home to the departed and display a small framed photograph I took of them. I may also include others , that I don't know personally but who have effected me (positively).

on New Year's day I read some of Nanao Sakaki's collected poems "how to live on the planet earth". It did brighten the dark and rainy day that it was and provided a great quote to include in the brief description of PRAELUDERE (ballades form the 20th century) I was sending Christoph Nicholas and Marcus Kaiser in preparation for performing them in Munich early February. ...Every footprint is a song, the song of life, painted on the sand, painted in the air ...

MOIblog archive