One Thousand and One Nights

One Thousand and One Nights* appears through a myriad of guises and forms that frames a dialogue & facilitates experiences between people and art that encourages debate, exchange and collaboration reflecting the vitality, complexity and unfolding patterns of understanding.

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*The Arabian Nights, also known as The Thousand and One Nights (Arabic: alf laila wa-laila), originally a collection of oriental tales in the Arabic language that developed into a powerful vehicle for Western imaginative prose since the early 18th century. The labyrinthine intertwined stories in The Thousand and One Nights are framed by a tale of a jaded ruler named Shahryar, whose disappointment in womankind causes him to marry a new woman every night only to kill her in the morning. The grand-vizier's clever daughter, Scheherazade, determined to end this murderous cycle, plans an artful ruse. She tells the sultan a suspenseful tale each night promising to finish it in the morning. This narrative device of delaying unpleasant events by means of arousing the curiosity of a powerful figure is a constant feature in the stories themselves. It is now believed that the collection is a composite work originally transmitted orally and developed over a period of several centuries.

The collection has a long and convoluted history which mirrors its complex narrative structure; one amazing story evokes another, so that the reader is drawn into a narrative whirlpool. The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques and various forms of erotica. Numerous stories depict djinn, magicians, and legendary places, which are often intermingled with real people and geography, not always rationally. The tellers and authors of the tales were anonymous, and their styles and language differed greatly; the only common distinguishing feature was the fact that they were written in a colloquial language called Middle Arabic that had its own peculiar grammar and syntax. 

One Thousand and One Nights




















Six Interludes / / / Independent Studio Artists, 16 Eustace Street, DUBLIN .

The Doors of Perception takes the framework of a talk show. In this case for each show a single guest will discuss their work with co-hosts Paul Hallahan and Lee Welch. However the stage for The Doors of Perception is the entrance of Independent Studio Artists at 16 Eustace Street, Dublin and the glass doorway will be a visual analogy of the interview.

Saturday, February 28 at 2:00pm - 8:00pm
49°F / 45°F Chance of Rain
Irish Museum of Modern Art, DUBLIN

Hosted by Lee Welch and Stéphane Béna Hanly

I told you not to smile.
Your supposed to be immortalised, not happy.

If only you had attached my legs, I wouldn't be in this ridiculous position. Now, remember, you have a responsibility to me, so don't do anything foolish.

Oneday 7-10pm Mid May 2013 / / / Dublin City Gallery The Hugh Lane, Sculpture Hall, Dublin, Ireland.

If you can smell garlic, everything is all right will be an event based around a social occasion at which guests eat and drink together in the Hugh Lane Gallery, as part of Sleepwalkers . This conjuncture opens out into an area of activity where one's non-specific expectations of museums can be stretched out in the stunning setting of the foyer and Sculpture Hall of the Hugh Lane. If you can smell garlic, everything is all right will advance not only the opportunity to entertain, but nurture a thought provoking experience.

Wednesday 7-10pm 8 Feburary 2012 / / / The Drawing Project, 3 Harbour Square, Dunlaoghaire, Dublin, Ireland.

Ached Grew Print Jot*, as a kind of alternative space of creativity, interpretation, ritual and critique will be a drawing class in the form of an ephemeral, event-based character expressed and observed through music and other performances, film screenings, a lecture and hosting the launch of  a publishing project, Household Words, an on-line / off-line publication that focuses on expanding the format of criticism head on with personality, authenticity and style. Ached Grew Print Jot and Household Words will be characterised by discreet shifts and observations in the spaces between people, objects and happenings.

Look & See XXX

The Three Calls / / / Mauritsstraat 36, Rotterdam, Netherlands.

Telephone Booth is new a compact project space that utilizes two recently disused spaces in the Piet Zwart Institute, one a storage space and the other a telephone booth. Lee Welch's new work The Marriage of Reason and Squalor, II takes the form of a parquet floor, paying homage to Frank Stella's painting of the same name, the floor consists of two identical vertical sets of concentric, inverted U shapes. Each half contains stripes of dark stained wood that radiate from the single vertical line at their center.


Thrusday 5:30pm 16 December 2010 / / / Mauritsstraat 36, Rotterdam, Netherlands.

One Thousand and One Nights is pleased to invite you to encounter Three or Four Works by Lee Welch, Lundahl & Seitl (in collaboration with Gemma Sharpe), Niklas Tafra (in collaboration with Enrico Glerean, Hannes Lewné and Rickard Strand) and Henning Lundkvist presented by radiowy.

Actually, I don't understand the whole concept of form and forms very well, nor the various ways different forms and genres get distinguished and classified.

Wednesday 7-9pm 13 October 2010 / / / The Banff Centre, Basketball Court in the Sally Borden Building, Banfff, Canada.

A Whole New Ball Game which will play host to the launch of  ANAL, a modest black and white periodical along with props, performances and lectures in midst of a basketball game with players; Neil Bickerton, Mike Crane, Hirofumi Suda, Leigh-Ann Pahapill, Kevin Rodgers, Mike Schuh, Aislinn Thomas, Jan Verwoert & Lee Welch

Saturday 6-10pm 13 March 2010 / / / SD&G, Zwaanshals 243a, Rotterdam, Netherlands.

Starring: Elena Bajo, Vaari Claffey, Bernhard Garnicnig, Sam Keogh, Rachel Koolen, Warren Neidich, Linda Quinlan, Edward Clydesdale Thomson
Based on a short story by Serena Lee 
Title by Arvo Leo 
Poster by Annie Wu 
Script by Giles Bailey & Martijn in't Veld 
Directed by Lee Welch



Monday, May 2 at 8:30pm sharp
48° Cloudy

The first interlude presented Whatever it is, Raise it high with Jacob Wick.

Jacob Wick is a trumpet player whose approach to improvisation privileges the perspective, experience, and expressive capacities of ambient non-human actors—air ducts, airplanes, birds, cement.

Listen to the Whatever it is, Raise it high interview with Jacob Wick here.


You don't need to be in a dentist's office to get your teeth fixed.

Although a comprehensive examination will likely be done the first time you visit.

- - - - - - -

Where is a place people always go to to do something?

Taxi driver
Be my shrink for the hour
Leave the meter running
It's rush hour
So take the streets if you wanna

- - - - - - -

Oh, like, like, like plants don't need to be grown in a garden.
The greenest of plants grow…

For the low maintenance gardener.

If you prefer the low maintenance approach to gardening then we have a great range of lifelike articial plants that remain just as fresh looking year after year. Perfect if you can't have a live plant, but still want to enjoy the beauty of nature. You can also browse our range of plant pots that come in many shapes, colours and sizes to bring the greenery you always dreamt of to life.

- - - - - - -

I told you not to smile.
Your supposed to be immortalised, not happy.

If only you had attached my legs, I wouldn't be in this ridiculous position. Now, remember, you have a responsibility to me, so don't do anything foolish.




Further details to follow as they unfold.
For now I bid you well.


a play in a few scenes

Sean Carpio, the tone-setter
Ruth E. Lyons, the guide
Niamh O'Malley, the model
Vincent Lestienne, the clairvoyant journal
Karl Burke, the woodworker
Daniel Fitzpatrick, the speaker
Barbara Knezevic, the observer
Vaari Claffey & Sarah Pierce, the painter-decorators
Russell Hart (ETP), the conductor
Frank Wasser, objects
Lee Welch, the guest host


The present, early evening


The white cube space, it is characterised by its oblong shape, white walls and its light source from the ceiling. A certain gallery aesthetic that was introduced in the early twentieth century in response to the increasing abstraction of modern art.

Scene I: Sean Plays the Drums

(SEAN CARPIO is sitting at his drum set. With a simple gesture of playing a repetitive pattern, a form of contemplation, focus and practice, he sets the tone for the evening)

I guess it's the Jeff Ballard practice method for drum-set. Focusing on the craft in order to expand your consciousness of your output. Here's him talking about .  .   .     .        .

"If you listen to and hear what you're playing that will automatically upgrade things because you've embraced what's coming out of you as well as what's happening around you. It's a funny thing. You are focusing in but you're also expanding your consciousness. It's easy but sometimes we get in the way of ourselves. It's easy if you let go and surrender. Just remember to remember."

Scene II: Ruth Speaks and Exhales

(RUTH E. LYONS brings us to the Islanded in a Sea of Stars by means of a guided meditation speech act. She invites us to visualize the cosmic realm of the Internet and encounter our virtual self)

(RUTH asks everyone to sit, relax and close their eyes)

As you connect up to the Internet, feel the comfort of this connection,
Stop the in flow and out flow of chatter in your mind,
Just relax,
Just be totally connected
Be connected
Focus on your connection
For internet usage the first thing is the posture
You may sit in any posture
The posture must be very comfortable and stable


Scene III: The Model Takes Position - An Exercise in Perception

(NIAMH O'MALLEY's Model generates an encounter between our enquiring gaze and the silent still figure in the video calls us to action but not the one that usually ensues)


Scene IV: Vincent Gazes but Doesn't Stare

(At this stage you may have noticed that throughout the evening VINCENT LESTIENNE has been and will continue to photographically document the event as it unfolds)

(click . . . click . click)

Scene V: Karl Plays

(KARL BURKE starts constructing a form that stems from Euclidiean logic. During the course of the evening KARL BURKE is concerned with reaffirming perceptions of a defined space and this is addressed in a sculptural nature)

(arranging long narrow pieces of wood)
Can you hold this in place here.

Scene VI: Daniel, the Letter U and the Numeral 2

(DANIEL FITZPATRICK stands before us about to deliver a short lecture on dialogue based songs. The letter U and the numeral 2. A dog named Snuckles. A disagreement. And David 'The Edge' Evans) 

"That's the letter U and the numeral 2 . The four man band features Adam Clayton on bass, Larry Mullin on drums, Dave Evans, nicknamed The Edge on..."

"This is bullshit! Nobody cares! These guys are from England, and who gives a shit! It's a lot of wasted names that don't mean diddly shit!!!"

(seethingly quiet)
"Emmm...too many... Come out of those goddamn up-tempo numbers, man, It's impossible to make those transitions. Then you gotta go into somebody dying!

(raises voice)
Goddamn it if we can't come out of slow records. I don't understand it, Why aren't we doing these instrumentals, too? Do we got 'em?"

"Will somebody find the goddamn answer?"


Scene VII: The Black Box State

(Sitting in the space is an unpretentious block whose surface is ostensibly like the slight sheen of black crushed velvet. With 9,000 black Crayola crayons cast into a cube, BARBARA KNEZEVIC gives us More than just the sum of our parts)

(silent observation)

This is nothing and everything, all at once. It is quietly present and quietly absent.

Scene VIII: A Word and Image of Equal Value

(A pair of painter/decorators, VAARI CLAFFEY and SARAH PIERCE, make works from the present, 1971 and 1977, amongst others with Mathew Ashe, Dary Greg, Fiona Gannon, Aine Hara, Luc van Kampen, Janna Kemperman, Orla McGuane, Claire Mullen, Kate Roarty, Louise Roe, Grainne Stack, Lena Sideri, Aoife Walsh, Joshua Wright)

"I'm really interested in what conceptual leaps people can make from one bit of information to another and how they can fill the space." John Baldessari

Scene IX: Frank Laughs Out Loud

(Somewhere between here and there FRANK WASSER has activated a twitter account that he will contribute to regularly for a duration before, during and after all of this. The twitter account  will be utilized in a similar way to the traditional uses associated with the notebook, observing, drawing, documenting, reflecting and planning. Conversations forged around the event will be documented through the account which will be disseminated during and after the event through a discursive infrastructure of  online and offline debate between the participants, providing a new platform for registered discourses within contemporary art and a platform for the interrogation of the function of art criticism)

(Frank/Francis Wasser after laughing, panics over what name to pick for himself at the same time thinking...)

If a tree falls in the forest and no one is there to see or hear it, does one tree think to itself , 'Shit they will never believe us..or me'...'Do any of these trees think like I do?'...'Do I think at all?'... 'Am I a tree, if there are no humans'...'Fuck it, I can't go on, I might as well fall down too.'

Scene X: Russell Connects Us Together

(RUSSELL HART (ETP) shows us A Conductive Arc, a new piece where he asks you to pass around a Mute Synth (a small copper plate containing an electrical circuit that is activated by human touch) each response is created by the holder's grip and is outputted in the form of a sound signal which he will then process and feed back to the audience creating a temporary sound portrait of the audience)

(extending his hand with a kind of knobless instrument)
Can you please have a look at this and then pass it around?

Scene XI: Vincent's Flashback

(VINCENT LESTIENNE recounts his nuanced gazing in the form of an un-edited slide show)

(image . black . image . black . image)

Scene XII: Welch Rethinks and Speaks

(LEE WELCH punctuates the evening with words)

My mother and I could always look out the same window without ever seeing the same thing.


*ached grew print jot is a drawing class that takes the form of an event-based framework, a kind of anatomical arrangement, impressed and observed through varying material means that include, music, mediation, performance, sculpture, moving image and a short lecture.

Moving away from the physical act of drawing, ached grew print jot focuses on paying close attention to a particular object or subject and those processes attuned to the act of observation - mediation, musing and study. An ensemble that hopes to encourage a heightened sensibility of looking and an examination of the mind in the structuring of that experience. All so often our thoughts go beyond anything we engage with here and now; they’re off in the future or combined with remnants from the past, ached grew print jot draws attention to that sway, one that hovers between what is physically present and our interpretation of that presence.

ached grew print jot will also host the launch of a publishing project, titled Household Words. This is an on-line publication that focuses on expanding the format of criticism and heralds a space for personality and authenticity, together with literary style. This publishing project will be made available in hardcopy format.

All in all ached grew print jot evokes through keen observation a kind of dynamic space where creativity, interpretation, ritual and critique can be mediated on and ultimately hopes to remind ourselves of the pleasures of looking in all its complexity and detail.



26 May - 6 June 2011

GLASER: Isn't it that there's no gestation, that there's just an idea?


STELLA: But we're all still left with structural or compositional elements. The problems aren't any different. I still have to compose a picture, and if you make an object you have to organize the structure. I don't think our work is that radical in any sense because you don't find any really new compositional or structural elements. I don't know if that exists. It's like the idea of a color you haven't seen before. Does something exist that's as radical as a diagonal that's not a diagonal? Or a straight line or a compositional element that you can't describe?


STELLA: It's just that you can't go back. It's not a question of destroying anything. If something's used up, something's done, something's over with, what's the point of getting involved with it?

JUDD: Root, hog, or die.


GLASER: Reductio ad absurdum.

STELLA: Not absurd enough, though.

JUDD: Even if you can plan the thing completely ahead of time, you still don't know what it looks like until it's right there. You may turn out to be totally wrong once you have gone to all the trouble of building this thing.*

*Glaser, Bruce. 'Questions to Stella and Judd, Interview by Bruce Glaser.' Edited by Lucy. Lippard. ARTnews 65, no. 5, September 1966, pp. 55-61



Wednesday 7:30 pm 8 June 2011

"Originally we thought they might have found a new horizon, and had been double-crossed by the company, or else they'd faked their deaths so they could continue the investigation under the radar, but now this other time zone means we must start thinking in completely different directions."

A new work by Serena Lee, Loud and Clear, a performance for voice, video, walkie talkies, and interrupted visibility. Real-time becomes unhinged in this long-distance fiasco, as we are doomed to track a shifting horizon with outdated equipment and no reliable means of measurement. Everything rests on the hope that on a clear day, you can see forever.



Wednesday 7:30 pm 6 July 2011

“The true life is not reducible to words spoken or written, not by anyone, ever. The true life takes place when we‘re alone, thinking, feeling, lost in memory, dreamingly self-aware, the submicroscopic moments.”

–Don DeLillo, Point Omega, 2010

Fergus Feehily’s paintings, which are very much made things and at times are not actually painted at all, offer a  complex experience, where what is held back is often as important as what is revealed. Feehily’s increasingly improvised painting practice is both nuanced and quietly insistent.



Whether you agree or disagree with what you will hear, we feel that none will deny the right of these views to be broadcast.

WEEKS: I think so. Brought on by the desire for the larger and larger audience… the bigger rating you can get… the more thousand… the more millions of people who can hear… and what are the common denominators? The common denominators today seem to be today sort of a low emotional … low common denominator of emotionalism.

First Act
In the Volvo, he turns the radio up while the wintry air of the mid-December day flows in through the window. I am in the back seat seating between two people. We are being driven around. I am not sure where we are headed. The moving scenery creates fragments of a story, a narrative. Looking around I see a foot bridge over a stream. I see these things from the perspective of no one. A sightless vision, as if one closes their eyes and imagines a large space. A dark space where I hold up my hand in front of my face which I feel but cant see. The car stops. I get out and proceed to the cafe.

Second Act
BLVR: Maybe the question I have is this: Once you've explored a form, like the short story for example, do you reach a point where you think you've exhausted its possibilities, and thus have to move on? Or are you sampling many different forms before inevitably revisiting all of them?

DFW: Here's an example of a question that's deeper and more interesting than my response can be. I know that the reason has nothing to do with feeling that a form's been exhausted. Actually, I don't understand the whole concept of form and forms very well, nor the various ways different forms and genres get distinguished and classified. Nor do I much care, really. My basic MO is that I tend to start and/or work on a whole lot of different things at the same time, and at a certain point they either come alive (to me) or they don't. Well over half of them do not, and I lack the discipline/fortitude to work for very long on something that feels dead, so they get abandoned, or put in a trunk, or stripped for parts for other things. It's all rather chaotic, or feels that way to me. What anybody else ever gets to see of mine, writing-wise, is the product of a kind of Darwinian struggle in which only things that are emphatically alive to me are worth finishing, fixing, editing, copyediting, page-proof-tinkering, etc. (I know you know this drill, and know the soul-fatigue of having to go over your own shit time after time for publication.) And it may be that in order to be really alive for me, a book-length thing has got to be different, feel different, than other stuff I've done.… Or, on the other hand, my whole answer here might be hooey: The new book of stories is not all that different, structurally, from GWCH, or from most other story collections.

BLVR: You mention this book of stories again, but we haven't discussed it. Did you want to talk about it?

Third Act
HUXLEY: Er...As technology becomes more and more complicated, it becomes necessary to have more and more elaborate organizations, more hierarchical organizations, and incidentally the advance of technology is being accompanied by an advance in the science of organization.

WALLACE: The question, of course, that keeps coming back to my mind is this: obviously politics in themselves are not evil, television is not in itself evil, atomic energy is not evil, and yet you seem to fear that it will be used in an evil way. Why is it that the right people will not, in your estimation, use them? Why is it that the wrong people will use these various devices and for the wrong motives?

HUXLEY: Well, I think one of the reasons is that these are all instruments for obtaining power, and obviously the passion for power is one of the most moving passions that exists in man; and after all, all democracies are based on the proposition that power is very dangerous and that it is extremely important not to let any one man or any one small group have too much power for too long a time.

WALLACE: "In an age of accelerating overpopulation, of accelerating overorganization, and ever more efficient means of mass communication, how can we preserve the integrity and reassert the value of the human individual?".

HUXLEY: Well, this is obviously...first of all, it is a question of education. Er...I think it's terribly important to insist on individual values, I mean, what is a...there is a tendency as probably read a book by Whyte, "The Organization Man", a very interesting, valuable book I think, where he speaks about the new type of group morality, group ethic, which speaks about the group as though the group were somehow more important than the individual.

But this seems, as far as I'm concerned, to be in contradiction with what we know about the genetical makeup of human beings, that every human being is unique. And it is, of course, on this genetical basis that the whole idea of the value of freedom is based.

And I think it's extremely important for us to stress this in all our educational life, and I would say it's also very important to teach people to be on their guard against the sort of verbal booby traps into which they are always being led, to analyze the kind of things that are said to them.

Well, I think there is this whole educational side of...and I think there are many more things that one could do to strengthen people, and to make them more aware of what's being done.

Issue #0

ANAL CONTRIBUTORS – Andrew Berardini, Neil Bickerton, Mike Crane, David Deery, Chris Fite-Wassilak, FormContent, Kate Jackson, Andrew Kerton, Kevin Kirwan, Fermín Jiménez Landa, Serena Lee, Henning Lundkvist, Kelly Lycan, Linda Quinlan, Celia Perrin Sidarous, Garrett Phelan, Kevin Rodgers, Project Arts Centre, Mike Schuh, Sils, Leif Magne Tangen, Aislinn Thomas, Walker and Walker, Lee Welch, Lauren Wetmore and Wilfried Lentz Gallery

The Contents

There are two tragedies in life. One is not to get your heart's desire. The other is to get it.

So you want to reproduce the Kodak tungsten look of sunlight that's slightly crisper than late afternoon Northern Ontario Indian summer as it would appear through oak trees on an enclosed veranda facing south- west through late 19th century farmhouse windows, in a white cube studio with three-point lighting?Serena Lee discusses the plights of Lighting in Layers.

As you turn around, and make your way to the back of the gallery, a deliberate obstacle comes to mind. When contemplated, a sense of confusion and ease gather. The paradoxical nature of experience makes her stumble; luckily she landed yielding. Am Nuden Da & FormContent address the encounter through theSession_11_Press Release.

However, aside from living in everyday life and seriously doing science, people may and do like to play. Science may be a plaything and, in part, that is what my literature is. Mike Crane looks at the margin between science and storytelling through Istvan Csicsery-Ronay, Jr.'s interview with Stanislaw Lem in 22 Answers and 2 Postcripts, originally published in the November 1986 edition of Science Fiction Studies #40.

Musing over the audible capacity or sonic potential and effect of an image, Linda Quinlan was immediately struck by the rhythmic measure that materialises with the repetition of these two found images. Both images in Pottery Percussion present the technique, 'slam and bang' used by potters when blending clay. Further interests lie in considering how an image might somehow resonate in the ear and eye concurrently and in turn, hum in the recesses of the brain.

And how the light on the ceiling and the shape and texture of the shadows cast were absolutely complex and entirely stunning. Of course there can be no words for any of this until later. In Aislinn Thomas' text-based work WE SPEAK LAST looks at the moments between consciousness & speech.

So now it feels more like you acting out an idea of yourself—a freak who can never be with anyone for long, and in that move freezing both of us in jarring roles. In Each to each other dreams of other's dreams: a study in dislocation Chris Fite-Wassilak interweaves Andrei Tarkovsky, Fernando Pessoa, Will Eisner & a fictional protagonist with each identifying oneself with the suffering of another, in a passionate way.

Between i and f Joe Walker and Pat Walker invert the space between what might be English's hardest conjunctions with a gesture of minimalist concrete poetry.

Who's Afraid of Red, Green and Blue 
Andrew Kerton

These roles demanded bravery and dignity and they accepted their roles, knowing that these stories needed to be told. At the core of Andrew Berardini's Letter from New York lies a phenomenological pleonasm: the need to employ "the real" in order to re-present "the real".

Garrett Phelan's Reflexology foot chart, Dead or Worse, maps the emotional and social issues with a premise that if pressure is applied to these areas such work can effect a physical change in the body.

Mike Schuh's Left, architectural intervention functions as catalyst for questioning the role of knowledge in shaping our daily experiences.

Roussel hired a private detective firm to deliver his instructions to Zo, the illustrator. Zo did not know who had hired him nor did he know what he was illustrating, other than the short descriptions Roussel wrote for each of the fifty-nine drawings which were then hidden in the gap of the uncut pages. These instructions are followed to direct ones gaze to the myths of artistic innovation and originality being the impetus for Ulrik Heltoft's 43. A parrot on its perch seemingly talking to a passer-by. No other people.

I would never have been the guy to step up and imitate something so obviously not my idea, but of course, in this fame starved world we live in, where the idea of being original is less intriguing than any abuse you will never take… David Deery's take on The irrelevance of originality.

it was very close that a moment of inspiration made me actually produce the work, but I came to my senses again, opened my bag, took out the dicta- phone and switched it off before I boarded the plane. Henning Lundkvist thinks about "crossing the atlantic" or "a voyage over the atlantic" or something like that.

But back to the space. The white cube, without going into its history, had the notion of clearing out all unneeded or wanted disturbances - only the works, alone.Is this a beginning? Leif Magne Tangen muses on science fiction & the conditions of production.

Kevin Kirwan continuously documents what is around him, creating a narrative based in both fact and fiction. Untitled (Cat) considers the insignificant and places it alongside popular culture phenomena that have become ingrained into our collective psyche.

Using nature and references to pop culture Kevin Rodgers'Hole addresses romantic obsessions such as stalking and fan clubs.

A moment of collective euphoria exploded when the first person had the courage to take one. Fermín Jiménez Landa provokes his audience to practice stealing or vandalism in Mon/Fri Sat/Sun.

You can squint, you can stare, but these bridges, that you know are there, are not there. Or, they're just there. Just on the edge in the corner, glinting sunlight like a forgetting dream. Neil Bickerton wants an infinite lattice of invisibling bridges in Orange.

In Celia Perrin SidarousLima & Hand and Window, Montreal one moves through an interiority and exteriority; the revealing of dog's ear passage along with what appears to be the opening of the window each being at the threshold of exchange.

In Unrecorded Interview, Tessa Giblin tells the story of the Suzuki brothers spending an hour and a half in the Project Arts Centre, speaking amongst themselves and an Edirol, to decide what exactly they could infer from the artworks to the readers of ANAL, who have most likely never seen the exhibition about exhibitions.

I think that at that point she was willing to be like "You win, Universe. This is over. I just won't talk to him ever again." And she didn't. He never called, and they never saw each other again. Lauren Wetmore tells us What happens when Yellow and Blue Makes Green as told by Mike Schuh.

An inventory of objects which seems to challenge the spectators' memory and attention. Jacqueline Forzelius at Sils, a project space based in Rotterdam.

Now I know how looks milkLee Welch presents an exclusive new work in the periodical that explores the difficulty of translation, meaning and understanding.

Experiential consciousness, touted comprehension, blind faith. Kate Jackson embroiders drawings of person doing what person does best for a limited edition of ANAL's cover.   

Based in Rotterdam, ANAL is an international periodical devoted to a playful discourse presented by forward-thinking writers, artists, critics & curators.

by Giles Bailey and Martijn in't Veld

The characters: 
RONALD: A Dutch man. 
JOSEPH: A British man. 
The time: The present. 
The scene:


Scene: RONALD’s home on a dark evening. The Room is lit by a single lamp that hangs above the table. The room is minimally furnished, a bare wooden floor, white walls. A human-sized palm tree in a big tub is prominent to the left of the room, a replica of a painting by Jackson Pollock hangs on the wall to the right. To the centre right of the stage there is a round formica table with three chairs around it, all of light colour. On the left a liquor cabinet which is well stocked. Against the back wall is a cabinet with a record player, some documents and records. 
The door to the room is half open. 

RONALD and JOSEPH are seated at the table, RONALD in chair(R), JOSEPH in chair(L). 
RONALD is reading a red-bound book. 

JOSEPH rises and ranges about the room listlessly. He picks up a photograph of RONALD that 
is lying on the cabinet. He stares at it.

(without looking up, remaining focused on his book) 
What do I look like?

You look like a scholar.

Scrutinizing it closely

Smoldering into the camera.

(Still not looking up) 
Do I wear glasses?


Am I waving at you?


Does smoldering mean smile?

It means to burn slowly with no flame.

(finally looking up) 
That is not a very nice thing to say.

(Hurriedly, to appease him) 
No, this is a compliment, burning like the embers of the campfire... 

He pauses as if summoning up the words. 

the hot cherry of a rope set aflame... the coals of a sauna.

Wow, you are making an effort to get me back in the comfort zone

He closes his book and places it on the table. 

OK, I am back in front of the fireplace. Now tell me a story.


Feel free to dismiss the request if you feel like. 

No, it's fine. 

He joins RONALD at the table. 

Are you ready? 

I heard somebody say the other day “I was born ready." but apparently he still had to learn the words a little after that before he could say it. But yes. 

So, in the delirium of a drunken stumble through the Dublin night town the protagonists swam in the fearsome phantasmagoria of a warm, hallucinatory world. 

JOSEPH’s telephone rings. He answers it and walking to the corner of the room conducts a conversation that is barely audible. Idly RONALD echos JOSEPH’s half of the conversation while he toys with his glass and leans back on his chair. 

Your keys... that is unfortunate... yes last time we came back from the meeting with alexis... you were there already... oh shit... yes i guess... what did they look like?.. hmm... yeah... that is weird no?.. you can’t...?.. ah shit... so... so but the but but... the door is open to the studio right?.. no yes... yeah... hmm... is there anything i can do to help you? 

(losing track he looks over his shoulder at JOSEPH, straining to hear what he is saying) 

At this moment actual life is living faster than the protagonist can speak.

Concluding his conversation JOSEPH returns to the table placing his telephone back in to his pocket. 

(taking a seat) 
We return to the Dublin night town. A man, 

Yes, please. 

(ignoring him) 
The world,

But perhaps you can pour me a drink. Before we start. 

OK, OK. 

He walks over to the liquor cabinet and hurriedly mixes a drink. He returns to the table with it and places it down before RONALD. 


Great. Thanks. 

A man, 

(raising his glass) 
Cheers to the dead homies. 

He drinks. 

(aggravated by the interruption) 
Yes, yes. Right.

He pauses, trying to regain the focus of his story 

(with a big sigh) 
A man, the world and a gramophone. The gramophone croaks incomprehensibly. 

Why are the man and the gramophone separate from the world? 

Agitated by being interrupted, glares at him. 

You can answer that later. Sorry to interrupt. 

RONALD’s phone rings. He answers it and walks out of the room. 

JOSEPH roles his eyes in exasperation. With clearly escalating rage he rises, takes the two glasses and book lying on the table and places them on the seat of the middle chair (M) . As if to remove the obstacle it presents he begins heaving the heavy dining table from between their chairs. 

(struggling with the table) 
What the fuck?

The unaccustomed weight causes him to wince and the table topples over, crashing upside down. 

Motherfucker! What the fuck?

He hauls it to the back of the room by the legs and drags RONALD’s chair over to close the gap left by the table 

What the fuck?! S.O.B!

He takes his glass from the chair(M) and shaking his head walks to the liquor cabinet to make himself a drink. He sips in silence, a pained expression on his face.

RONALD reenters and sits back down on his chair seemingly unaware that the room has been reconfigured. 

I've lost the thread of my story.

What does S.O.B mean? 

Son of a... well, maybe you can guess. 

I can. 

(with sarcasm) 

Returning to his chair he sits and stares at the ground. 

But you were in the world with a gramophone or something? 

(looking up) 


(having reflected and gathered himself) 

I remembered this: Though Twemlow is introduced to the reader as being like the table at the Veneerings’ dinner party, he comes to reflect a wise way of thinking. 

What is being like the table? 

It's a description of a character from ‘Our Mutual Friend’ by Charles Dickens. Actually, in the book he is described as being the table. 


Or specifically the leaf of a dining table. 

I think Raimundus Malasauskas once posed the question if a table could curate an exhibition.

Did he conclude anything? 

He only posed the question. It was an interview. I can’t remember the answer. 

Was it in a specific context? 

A magazine, but I like to think they were probably sitting opposite of each other at a table. 

I see. 

The table being in the middle as a posed problem or theme perhaps… which directs a course for the dialogue. 

A long pause.


I'm sorry? 

You know the dilly. 

Um, I'm a little lost here. 

It’s some slang common in Rotterdam. Jeweettoch. Jay dilla, je weet. 

Care to translate? 

Je-weet-toch: you-know-right... what the deal is. 

Abruptly changing the subject. 

What are you having to drink? 

Vodka and apple juice. And you? 

(Admiring the illustration of people in Czechoslovakian national dress that decorate the side of his glass) 
I don’t know but I do know that Czechoslovakian woman is in it up to her waist. 

(In incomprehension) 
My word! Care to elaborate? 

(Ignoring his question) 
Please, what do you mean with "my word"?

My word is an exclamation. Like "my word!" 

He mimes shock, his hands upraised. 

Good heavens! Etcetera. 

Holy moly? 

Exactly. “My word” is a bit archaic. Nice though, right? 

You want me to guess your word? pyramid! 

Good try. 


He pauses.

It is probably the most archaic of all words.

(With enthusiasm) 
Chair! I say your word is chair. 

It could well be. 


Actually, the exclamation “my word” comes from "upon my word" so that would be wholly fitting. 

Yes... Comfortably 

Upon my words. Though, I doubt that there is just one word... coming from beneath me. 

Now I still haven’t heard your story. Or have I? 

Oh right. My story was an adaptation of a fragment of another, A bit borrowed and perverted. 

He stands and paces wagging a finger. 

(with great self-importance) 
I will parcel with the following: There is a diagram. Thus: He indicates a point in the air. 

The man, 

He indicates another. 

The world, 

And a third. 

and a gramophone. A handsome triangle. 

He draws a triangle in the air with his index finger.

(playing along) 
A very handsome one I must say. 

I'm not so sure, (and then reflecting) I'm not so happy with the man. He is a bit defined. 

A person? A dog? A table? A discussion? 

(not listening) 
Perhaps a reader? 

Another world? 

A reader, the world, and the gramophone.

He redraws the triangle experimentally. 

OK it is your story. 

That is very gallant of you. 

What are they doing?

Well... information flows between them I suppose. Really, the reader just uses them to locate herself. 

Who is turning the gramophone around? 

Well, the gramophone is just croaking back some history. 

Is the reader both spinning the gramophone and the world to find his own position? 

(with uncertainty) 
It's hard to know. I don't think she can spin the world. What do you think? 

I think he can give it some good can of whoop ass. To make it loose its mind. 

Don't you think that might be a little futile? The world looks huge from here. 

(picking up his book again) 
Depends on which scale you look at it. 

That's true, but I can only talk about the view from here. 

(opening his book) 
Sure but I don’t want to be sitting in the corner where the punches are falling, water spilling all around you know. Shit gets apocalyptic. 


(putting down his book) 
There is record behind you. It is called ‘The War of the Worlds.’ 

Oh, yes? 

He walks over to the record player, locates the LP and puts it on. They listen for a while. 

My step-grandmother has a record player that is a huge piece of furniture 

And the only record she plays on it is War of the Worlds? 

I used to pay it a great deal of heed because it had all the VHS tapes stacked upon it. I suspect it hasn't been used for 15 years. Minimum. 

Nice. Where is it now? 

(ignoring the question) 
And I doubt she owns ‘War of the Worlds’. Have you ever heard the Orson Welles’ ‘War of the Worlds’? 

That is not the radioplay or? 


Unfortunately I have never.

It's meant to be great. Did you hear that when the Welles’ ‘War of the Worlds’ was broadcast people thought it was real and it provoked genuine panic. 

Yes. Great. A great example to show the influence of media on people... or basically how you become totally familiar with a surrounding which then can totally mislead you 

But I don't think these surroundings were that familiar, because it was a time where radio was still potent in this way 

I don’t know, is it happening now? It is a known unknown. 

Totally uncertain. nbsp;

Opens his mouth as if to interject. 

Shh, I'm waiting. 

He listens intently to the record. 

I'm pretty sure it's just a record. 

(with sarcasm) 
Thank God. OK now you need to do it on a bigger scale, but still to mislead some leading press agencies can get you quite far. I think... Even it just shifts your world for a tiny bit. 

(looking at the table, hand on chin and with great seriousness) 
Maybe you could do it with Twitter somehow. 


Did you hear this thing about Rage Against the Machine getting to number one? 

No, but now I don’t know if you tell me trues or lies. 

No, one hundred percent true. Christmas number one in the UK. ‘Killing in the Name of’. All because of Twitter and Facebook apparently 

Wow... Hmm. 

He returns to his book and they sit together in silence. 



DONE TO A DEAD END & THE DEAD OR ALIVE SALE is supported by the Piet Zwart Institute - Willem de Kooning Academy & Fonds BKVB.



54–68° Partly Cloudy

The second interlude presents Things without pretensions, with Miranda Blennerhassett.

Niamh O’Malley uses video, drawing, painting and sculpture, to examine ways in which we try to access the world through images. Her works often act as filters and invite us to enter the spaces between objects and places and our ideas of them.




November // NOW SHOWING
9° Mostly Cloudy

The third interlude presents Independent, with Niamh O’Malley.

At the centre of Miranda Blennerhassett’s practice is a desire to pay attention to details that are otherwise overlooked. Architectural idiosyncrasies give our environments their political, societal and aesthetic identities and as such this process requires receptiveness to her surroundings and consciousness of her actions within them.