02.<\/strong> The passage of the body through different architectural forms and strata is an important everyday experience. Stairways (also known as steps, stairs, or staircases) are some of the most important material and symbolic gateways to, from, and within architecturally defined configurations of power and knowledge. Why has no one written a symbolic anthropology of that fundamental interstitial transitional space: the stairway? Lecture to an Academy.<\/em> Performers: David Tomas, Penny Farfan. Performed at the theatre of the National Research Council, Ottawa on May 4, 1986 during the exhibition Songs of Experience.<\/em> Photo credit: Charles Hup\u00e9, National Gallery Photographic Services. The National Gallery of Canada, Ottawa. On Her Majesty\u2019s Service.
03.<\/strong> De\u2009: Penny Farfan Objet\u2009: R\u00e9p.\u2009: 1986 Date\u2009: 1er<\/sup> avril 2011 14:47:23 HAE Dear Sophie (and Dave), I was not involved in the conceptualization of Lecture to an Academy<\/em>, only in the performance. I was an actor at that time and someone connected me with David Tomas, who was looking for a performer to read the ape\/woman part in the performance. You probably already know that the piece was actually staged three times: first in an old lecture theatre in the Redpath Museum at McGill University in 1985; next, in the Art Department at York University, also in 1985; the 1986 performance at the National Research Council that you are studying was actually the third presentation. The major change between the three versions was the performance space: the texts and audio, as I recall, remained the same.\u2009.\u2009.\u2009. In case you haven\u2019t already seen them, I\u2019ve attached two photographs of the performance at the Redpath that may be of interest to you. You will see in these documents that it was a more intimate performance space than the lecture hall at the NRC in 1986. You will also see that it was a small audience. I hope these few details will be of interest\/use to you. Best wishes for your research. <\/strong>
04.<\/strong> 15 septembre 2012 16:34. Auditorium du mus\u00e9e Redpath. Photo SBC. History is the only coherent basis for change because it provides a comparative backdrop for contemporary action. Thus it has always been of critical importance to preserve important symbols of the past. I remember as a boy visiting the Redpath Museum and being fascinated with its eclectic natural history collections and odd objects like an Egyptian mummy (?); while at home I used to play with my toys (cars, etc.) on a Chinese carpet whose layout evoked an ocean surrounded by a roadway and, if my memory serves me well, images that could double as villages.\u2009.\u2009.\u2009. (David Graeber: \u201cThe role of the imagination as a political principle.\u2009.\u2009.\u201d). It is of no surprise, therefore, that while I chose to pursue anthropological research at McGill, I would present Lecture to an Academy<\/em> at the Redpath Museum\u2019s lecture room. Can one imagine an educational process that was configured as a form of outsider art?
05.<\/strong> Lecture to an Academy<\/em>. Conf\u00e9renciers\/Lecturers: Penny Farfan \/ David Tomas. Montreal, McGill University. Auditorium du mus\u00e9e Redpath, 6 f\u00e9vrier, 19 h. Toronto York University Department of Fine Arts, March 7th<\/sup> 5:00 PM. 1985. Poster\/flyer with photograph by Angela Grauerholz.
06.<\/strong> Communiqu\u00e9 distribu\u00e9 lors de la conf\u00e9rence ICI (Intervenants Culturels Internationaux). Apr\u00e8s Lecture to an Academy (After Franz Kafka), 1985-1986.<\/em> UQAM, AM-0506, 6 avril 2011, 12 h 40. Sign\u00e9 R.P.<\/p>\n\n\n\n
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<\/figure>\n\n\n\n01-06.<\/strong> 2<\/em> rooms equal size, 1 empty, with secretary,<\/em>(1)<\/sup>.<\/em> Du 27 septembre 2012 au 26 janvier 2013. Rapha\u00ebl Hupp\u00e9 Alvarez, Vincent Bonin, Marie Claire Fort\u00e9 et David Tomas ont accept\u00e9 de participer \u00e0 une exposition organis\u00e9e par Sophie B\u00e9lair Cl\u00e9ment, qui a accept\u00e9 l\u2019invitation du commissaire Eduardo Ralickas. (1) \u00ab\u2009Plan g\u00e9n\u00e9ral de la galerie. Deux pi\u00e8ces de superficie \u00e9gale, l\u2019une \u00e9tant vide, avec secr\u00e9taire, t\u00e9l\u00e9phone, bureau, meuble de classement et catalogue. L\u2019autre contenant deux \u0153uvres de chaque artiste.\u2009\u00bb Seth Siegelaub, livre des visiteurs et notes pr\u00e9paratoires, I.A.43, January<\/em> 5-31, 1969<\/em> [le January Show<\/em>], archives du Museum of Modern Art, New York. Photos 01, 02, 04 de Paul Litherland, avec la permission d\u2019Artexte, 2012. Photo 03 de SBC, 05 de Marie Claire Fort\u00e9, 06 de DT. Plan au sol.<\/p>\n\n\n\n Only artists. A bringing together (last night, I added one to the list). Some, I know very well, some a little, others not at all, or differently. A constellation. This one holds together well: a community of ideas before and during reification (or in its absence). An economy of ideas that circulate. There are emotional ties.<\/p>\n\n\n\n Sophie B\u00e9lair Cl\u00e9ment, David Tomas, Marie-Claire Fort\u00e9, Adrian Piper, Maria Eichhorn, Knowles Eddy Knowles, Maria Gilissen, Marcel Broodthaers, Silvia Kolbowski, Ren\u00e9 Magritte, Julie Ault, Tris Vonna-Michell\u2009.\u2009.\u2009.<\/p>\n\n\n\n The images: Where does an artist\u2019s work begin or end? Where is the space of art located? What form does it take? Silvia Kolbowski titles her blog the work behind the artwork<\/em>.<\/p>\n\n\n\n On her blog, Silvia speaks of Marcel Broodthaers (and Buchloh and Apollinaire)\u200a\u2014\u200aa recently published collection of his writings\u200a\u2014\u200aand his invitation-statement for his very first exhibition in 1964: \u201cI, too,wondered if I couldn\u2019t sell something and succeed in life\u2009.\u2009.\u2009.\u2009.\u201d She speaks of \u201caccommodation\u201d and within this term of the notion of \u201cgiving consideration to.\u201d Broodthaers, in his passage from poet to artist, and Apollinaire in his invention of the calligramme, registered, each in their own way, the social transformations that had taken place at that moment. There is a process of \u201cgiving consideration to, a giving space to, of fitting something in.\u201d Their work took its form in the distance that the act of \u201cconsideration\u201d conferred on their practice.<\/p>\n\n\n\n I invited Sophie who invited David and the others appeared, they were there. Others were added. But there are also books, sites, projects, exhibitions, history, exchanges, travels, conversations. MT<\/em><\/p>\n\n\n\n 01.<\/strong> 2<\/em> rooms equal size, 1<\/em> empty, with secretary,<\/em>(1) <\/sup>(livre des visiteurs). <\/em>Vinyle autocollant noir. 2371 caract\u00e8res (sans espaces). Mise en espace par Jo-Anne Balcaen. Photo\u2009: Paul Litherland, avec la permission d\u2019Artexte, 2012. 01.<\/strong> Le 14 janvier, 30 visiteurs, dont un groupe d\u2019\u00e9tudiants, passent voir l\u2019exposition January<\/em> 5-31, 1969<\/em> organis\u00e9e par Seth Siegelaub. Lucy Lippard t\u00e9l\u00e9phone sans laisser de message. Adrian Piper, \u00e0 la r\u00e9ception, compose Text of a piece for Larry Weiner<\/em>. Medium tape recording (lenght 600\u2019 @ 7 1\/2 IPS). Du mois d\u2019octobre au mois de d\u00e9cembre 2012, Marie Claire Fort\u00e9 pr\u00e9sente une pratique chor\u00e9graphique, un spectacle continuel dans la salle de r\u00e9union d\u2019Artexte. Pendant le Spectacle Continuel, <\/em>MCF diffuse l\u2019enregistrement audio de sa lecture de Text of a piece for Larry Weiner<\/em> et en fait la traduction simultan\u00e9e. [D\u00e9tail d\u2019une feuille de notes, archives du Museum of Modern Art, Seth Siegelaub, I.A.44.] 01.<\/strong> DT, The<\/em> Wilson Module<\/em> 1976\u201380. Photo: SBC. Lately, there has been much talk of \u201cTheory\u201d and \u201cResearch\u201d in relation to recent developments in contemporary art. Has it taken place in an ethereal context of collective ignorance? What is the role of the academy and its disciplines in its cultivation and the encouragement of a form of historical myopia? How many people feel marginalized within their educational process, and why is this the case? The<\/em> Wilson Module<\/em> was a prototype for a mobile, post-academic artifact\/experience: it embodied in embryotic form the concept of transdisciplinary research module (TRM) for an alternative knowledge society. It is important to imagine a different form of library (and not just a digital alternative), beginning with the bookcase. (Note the slight but significant resonance between bookcase and staircase.\u2009.\u2009.) A return to \u201creal\u201d space is more than just a simple political act\u200a\u2014\u200ait is an epistemo-political one. 01.<\/strong> et al.<\/em> 24.03.12-13.05.12, exposition organis\u00e9e par Sophie B\u00e9lair Cl\u00e9ment et Vincent Bonin avec Maria Eichhorn, Knowles Eddy Knowles, David Tomas et al., carton d\u2019invitation (verso). Graphisme\u2009: Simon Guibord.<\/p>\n\n\n\n 02-03.<\/strong> \u00c9cran de veille (conversations t\u00e9l\u00e9phoniques avec Vincent Bonin, 23.08.2011-13.03.2012), <\/em>2012. Projection vid\u00e9o dans la vitrine hors des heures d\u2019ouverture de [S\u00e9quence]. et al.<\/em> 24.03.12-13.05.12. 06.<\/strong> \u00ab\u2009Pendant trois heures, et sans respect pour le lieu o\u00f9 on se trouvait, sans respect pour les morts, les salles trembl\u00e8rent sous un tonnerre continu, incessant, indescriptible de cris, de tr\u00e9pignements, de grognements et d\u2019applaudissements. Cent cinquante-deux orateurs parl\u00e8rent successivement\u2009!\u2009!\u2009! \u201cOn put les voir, mais non les entendre (Dieu merci\u2009!).\u201d Notre correspondant ajoute que, depuis sa premi\u00e8re assembl\u00e9e, l\u2019art de crier, de siffler, de hurler, a fait des progr\u00e8s inimaginables, et qu\u2019en Angleterre, m\u00eame dans les plus turbulents des meetings<\/em>, on ne trouverait rien qui p\u00fbt approcher de ce qu\u2019il a vu ou entendu.\u2009\u00bb [P.-J. Stahl (dir.), Sc\u00e8nes de la vie priv\u00e9e et publique des animaux. \u00c9tude des m<\/em>\u0153urs contemporaines.<\/em> Vignettes par Grandville.J. Hetzel, Paris, 1842, tome 2, p. 21]. Reproduction d\u2019une photographie issue des Archives du Palais des Beaux-Arts, Bruxelles, occupation Mai 1968. Au premier plan (de dos), Marcel Broodthaers. <\/p>\nAbsent. Writing is an impossible task<\/h2>\n\n\n\n
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02.<\/strong> De\u2009: APRAF Berlin (Director) Date\u2009: 16 juillet 2012 03:40 Objet\u2009: Adrian Piper, January 5-31, 1969 <\/em>Regarding visitors, the only one I remember other than the ones you would expect (Sol LeWitt, Christine Koslov, Mel Bochner, Ian Wilson, etc.) was Donald Barthelme, Rick Barthelme\u2019s brother, because I had read several of Donald\u2019s books.\u2009.\u2009.\u2009. However, once Christine noticed that I was reading Wittgenstein\u2019s Remarks on the Foundations of Mathematics, <\/em>and she drew Joseph\u2019s attention to this because they had not realized it was out. Photo\u2009: Paul Litherland, avec la permission d\u2019Artexte, 2012.
03.<\/strong> DT, Insert<\/em>, 2008. Catalogue de l\u2019exposition January<\/em> 5-31, 1969<\/em> \u00e9dit\u00e9 par Seth Siegelaub avec insert imprim\u00e9 au jet d\u2019encre, reliure spirale, 20,96 x 18,42 x 0,8 cm. (The double and its \u201cother.\u201d) 04. DT, Insert<\/em>, 2008. Photo\u2009: Paul Litherland, avec la permission d\u2019Artexte, 2012. Insert<\/em> installed on the margins of 2 rooms equal size, 1 empty, with secretary,<\/em>(1)<\/sup>. A long time ago I had an interesting conversation with another artist on the question of how spectators navigate installations and the things they see and don\u2019t see. There is no such thing as an absolute exhibition experience. Lacunas are as important as what has been seen. The same is true of an insert. It too represents a kind of lacuna in the original, but in this case, the concretization of a certain evolutionary trajectory where the insert serves to mark a possible future. The concretization of another possible future was represented by 2 rooms equal size, 1 empty, with secretary,<\/em>(1)<\/sup>.<\/em><\/p>\n\n\n\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/06\/Capture-decran-le-2022-06-17-a-11.56.25.png\")
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02.<\/strong> \u0152uvre de DT, donn\u00e9e \u00e0 SBC, pr\u00eat\u00e9e \u00e0 VB. Photo\u2009: Vincent Bonin.
03.<\/strong> L\u2019\u00e9tiquette derri\u00e8re l\u2019\u0153uvre indique Maria Gilissen b.1939 Ren\u00e9 Magritte and Marcel Broodthaers<\/em>, 1966. Two gelatin silver prints. Each approximately 11 1\/4 x 7 1\/2 in. (28,6 x 19,1 cm). Each with credit stamps on the verso. J\u2019ai rencontr\u00e9 M. Gilissen rue Waterloo le 29 mai dernier. Elle m\u2019a parl\u00e9 des biblioth\u00e8ques de M. Broodthaers et de R. Magritte.
04.<\/strong> Lot 245, Maria Gilissen, 1) Ren\u00e9 Magritte, 2) Marcel Broodthaers, 1966. Collection of Corbeau et Renard, New York, New York, Wednesday, April 09, 2008. Private collection.<\/p>\n<\/div>\n<\/div>\n\n\n\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/06\/81_PF01_IM_Theriault_05_CMYK-scaled.jpg\")
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02.<\/strong> De\u2009: David Tomas Objet\u2009: R\u00e9p\u2009: pr\u00e9sentation Date\u2009: 11 f\u00e9vrier 2012 12:34:28 HNE Here are the pdfs of the Wilson instructions: Lots of fun last night.\u2009.\u2009.\u2009. (you forget Frankenstein here\u2009.\u2009.\u2009.)
03.<\/strong> De\u2009: David Tomas Objet\u2009: WILSON MODULE DIAGRAM Date\u2009: 14 f\u00e9vrier 2012 15:05:31 HNE Here is the diagram\u200a\u2014\u200aits not to scale so it looks square and high, but in fact it\u2019s more like a rectangle. It\u2019s designed so that the books-elements, etc. are free at the top and go beyond the bookcase\u2019s containing walls. This way, the module conserves its architectural\/knowledge form.\u2009.\u2009.\u2009. When hung on the wall it functions as a bookcase and architectural structure (I hope).\u2009.\u2009.\u2009. Ideally it would have to be built of aluminum (like my other bookcase)\u200a\u2014\u200aI\u2019ve asked for an estimate.\u2009.\u2009.\u2009. It could also be built in plywood (Russian???)\u200a\u2014\u200afor your show.\u2009.\u2009.\u2009.
04.<\/strong> Pr\u00e9sentation inaugurale\u2009: David Tomas, The<\/em> Wilson Module<\/em>, 1976-1980 (\u00e0 gauche). Photocopies, microfilms, transcriptions manuscrites. Ce projet a \u00e9t\u00e9 d\u00e9velopp\u00e9 par l\u2019artiste parall\u00e8lement \u00e0 la r\u00e9daction d\u2019un m\u00e9moire de maitrise en histoire des sciences, Universit\u00e9 de Montr\u00e9al, entre 1976 et 1980. Il est compos\u00e9 de huit modules regroupant la documentation qui \u00e9tait requise \u00e0 l\u2019\u00e9poque afin de compl\u00e9ter une recherche exhaustive sur le physicien anglais C.T.R. Wilson. \/ David Tomas, Prototype for a TRM (Transdisciplinary Research Module), <\/em>2009 (\u00e0 droite). Vue de l\u2019exposition et al.<\/em>, [S\u00e9quence] centre d\u2019art contemporain, Chicoutimi, 24.03.12-13.05.12. Copie d\u2019\u00e9cran erron\u00e9e.
05.<\/strong> Communiqu\u00e9 de presse (4e<\/sup> d\u2019une s\u00e9rie de 7) envoy\u00e9 aux membres de la galerie [S\u00e9quence] dans le cadre de l\u2019exposition et al.<\/em> Traduction \u00e0 partir de l\u2019anglais de documents issus du premier boitier de The<\/em> Wilson Module<\/em> de David Tomas, 1976-1980. C.T.R. Wilson. L\u2019unit\u00e9 comprend\u2009: a) Une boite en carton \u2013 contenant des \u00e9l\u00e9ments de communications publi\u00e9es entre 1910 et 1922 en r\u00e9f\u00e9rence au travail de Wilson sur la chambre \u00e0 brouillard. Les \u00e9l\u00e9ments sont class\u00e9s en fonction des crit\u00e8res g\u00e9n\u00e9raux suivants\u2009: 1) Forme de l\u2019appareil \u2013 raison \u2013 structure de l\u2019appareil 2) Probl\u00e8mes de formation de l\u2019image 3) Observations 4) Configuration photographique 5) Photographies 6) Probl\u00e8mes soulev\u00e9s ou r\u00e9solus par les photographies 7) Commentaires g\u00e9n\u00e9raux. D\u2019autres cat\u00e9gories sont utilis\u00e9es, ou commentaires formul\u00e9s, selon le contenu des mandats papier. b) Quatre copies Xerox de textes classiques de l\u2019\u00e9poque par Ernest Rutherford. c) Trois rouleaux de microfilms contenant les cahiers de notes de C.T.R. Wilson au sujet de la chambre \u00e0 brouillard (s\u00e9ries \u2018A\u2019). d) Un lecteur de microfilm. M\u00e9thode d\u2019utilisation du Module de Wilson Les fiches fournissent un corpus de mat\u00e9riel secondaire ainsi qu\u2019une m\u00e9thode g\u00e9n\u00e9rale de classement qui permettent \u00e0 l\u2019utilisateur ou \u00e0 l\u2019utilisatrice d\u2019organiser sa recherche au sujet des origines et des d\u00e9veloppements de la chambre \u00e0 brouillard de C.T.R. Wilson. Le module doit \u00eatre consid\u00e9r\u00e9 en tant que noyau fondamental autour duquel la recherche peut \u00eatre men\u00e9e.
06.<\/strong> Vincent Bonin. Lancement qu\u00e9b\u00e9cois. Une anthologie de la revue Texte Zur Kunst de 1990 \u00e0 1998, sous la direction de Catherine Chevalier et Andreas Fohr [\u00e9d.], Dijon, Les presses du r\u00e9el, Zurich, JRP|Ringier, 2010. \u00ab<\/em>\u2009C\u2019est une \u00e9vidence, l\u2019anthologie fera \u00e9v\u00e9nement dans l\u2019actualit\u00e9 \u00e9ditoriale francophone.<\/em>\u2009\u00bb Critique d\u2019art, n\u00b0<\/em> 33 (printemps 2009). Le 24<\/em> mars 2012, de 15 h \u00e0 18 h, galerie [S\u00e9quence], 132, rue Racine Est, Chicoutimi.<\/em> Cartons d\u2019invitation, 15 anthologies, projection vid\u00e9o HD, 20 min.<\/p>\n\n\n\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/06\/81_PF01_IM_Theriault_06_CMYK-scaled.jpg\")
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04.<\/strong> Il manquait un centim\u00e8tre au premier dispositif fabriqu\u00e9, alors je l\u2019ai gard\u00e9. [Contents of Bookcase: Fareed Armaly, brea-kd-own, <\/em>Palais des Beaux-Arts de Bruxelles, 1993\u2009; Contrat pour la pr\u00e9servation des droits de l\u2019artiste sur toute \u0153uvre c\u00e9d\u00e9e<\/em> (Siegelaub+Projansky)\u2009; Christopher Williams \u2013 communiqu\u00e9s de presse, archives de Jean-No\u00ebl Herlin, documents achet\u00e9s conjointement avec Vincent Bonin, 2012\u2009; photocopies, catalogues de Prospect<\/em> 68<\/em> et Prospect<\/em> 69<\/em> (archives MBAC)\u2009; photocopies, catalogue March<\/em> 1969<\/em>, Seth Siegelaub (archives MBAC)\u2009; photocopies, occupation de l\u2019\u00e9t\u00e9 1968, archives du Palais des Beaux-Arts, Bruxelles\u2009; photocopies, fonds Seth Siegelaub, archives du Museum of Modern Art\u2009; photocopies, archives de David Tomas\u2009: Lecture for an Academy (after Franz Kafka)<\/em>, DT, Penny Farfan, 1986\u2009; Topography of a Fragment: Madame Marie Curie. A Series of Portraits Taken in 1902\u2009<\/em>; carton d\u2019invitation, Experimental Photographic Structure<\/em>, PS1, 1981\u2009; D\u00e9tours voire ailleurs\u2009: David Tomas<\/em>, Mus\u00e9e d\u2019art contemporain de Montr\u00e9al, 1983\u2009; Apr\u00e8s Lecture to an Academy (After Franz Kafka), 1985-1986<\/em>\u2009; communiqu\u00e9s distribu\u00e9s lors de la conf\u00e9rence ICI, UQAM, 6 avril 2011, SBC, DT et David Jacques\u2009; Notes Toward a Photographic Practice, <\/em>1983\u2009; DT talks with Monika Gagnon, 1987\u2009; Portage <\/em>and Empire<\/em>\u2009; The Encoded Eye, the Archive, and its Engine House<\/em> 1998-2000\u2009; a red camera\u2009; Art Workers Won\u2019t Kiss Ass\u2009; certificat de naissance vivante\u2009; etc.]
05. <\/strong>Layout 1, portfolio esse<\/em>, DT. DT to SBC layout and others things, 17 February, 2014 3:59 PM the bookcases are in the shape of an H = two separate vertical sequences and one horizontal line\u200a\u2014\u200athis is a simple structure that can be easily disguised. 3 pages (v) \/ horizontal layout \/ 3 pages (vertical)\u200a\u2014\u200athe H shape replicates the doubling of the Broodthaers and the two book shelves: the doubling of practices, ideas etc. This is just an idea.\u2009.\u2009. to order the images and what ever else we need to present. Let me know what you think and if you have another idea. Added 4\/3\/14 (2:47 PM) I like the idea that a bookcase\u2019s phantom architecture can serve as a structure to archive a collaboration on paper. It reminds me that these kinds of structures can exist in other dimensions of time and space, and configurations of history and fiction.<\/p>\n\n\n\n