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East London launch
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Cream Pages: The dialogues of Tania Koswycz
and Richard Layzell

East London launch

in collaboration with Live Art Development Agency and Artsadmin

Thursday 12 June 2008 at 6.30pm
Live dialogue at 7.15pm

The Arts Bar & Café
Artsadmin
Toynbee Studios
28 Commercial Street
London E1 6AB

The following transcript was recorded as part of John Hammersley’s on-going research into dialogue as understanding and practice in contemporary art. John Hammersley is Academic Research Associate at the Centre for Fine Art Research (CFAR), Cardiff School of Art & Design.

Richard Layzell: So also from ResCen I would like to thank Jane Watt over here and Marianne Tyler who is not here but would be… And I would like to thank the Live Art Development Agency who have been a key partner in this book because without the One to One bursary I received from them these dialogues would not have developed and I’ve got Lois, Daniel and Andrew from the Live Art Development Agency here which is fantastic. The book is being sold today by Unbound, through the Live Art Development Agency. Unbound is a unique, online supplier of exclusive live art material. I would also like to thank Artsadmin for hosting this here and in many ways this feels like a delightful partnership which sort of mirrors how delightful I feel this publication is. I am kind of thrilled with it, we both are. I’d like you to be aware of the embossing and it’s not about you buying this tonight it’s about you having some kind of experience of it. So if nothing else, check out the embossing. I would like to thank Joshua Sofaer for editing this and being with me throughout the process. When we went to see the designer of my choice he was a man, a legendary typographer called Phil Baines who is actually an international expert on the origin of Penguin books and their typography. And I took along a Penguin Great Ideas book with me and I said, Joshua was there, and he was slightly confused about being in Phil’s kitchen but when I said to Phil, “we’re thinking of something like the Penguin Great Ideas series with the embossed cover”, Phil said, “would you like to see the rest of them? Because I designed them all” So what can you do? You go with Phil and you’re thankful for things like that.

So the price is actually comparable with the Penguin Great Ideas series and we will come back to that. The cellophane bag for those of you of an environmental persuasion like myself, need to know that these are biodegradable and made of corn starch and at the right temperature they will disintegrate in a few days. It has to be at the right temperature, I’m thinking of compost heaps, but the fish are safe.

Of course I would love to thank Tania without whom this publication would not have happened and the many friends and colleagues who feature in these dialogues, from Rosie Dennis in Sydney to Sir Paul Nurse in New York, Varsha Nair in Bangkok and Victor Petrov in Minsk. I’m arranging signings should you be interested in making that purchase which comes back to price.

So, the price is five pounds ninety-seven which gives you neatly out of six pounds a two and a one. So a two P and a one P and we will come back to that later, so hence the two Ps and one Ps. The twenty-one felt like a significant figure to both of us.

As some people may know, Tania has an aesthetic of absence so she has chosen not to be here in person but she has asked me to read a statement on her behalf, which I wrote down.

She says, “Congratulations on making it along to this London launch of Cream Pages. You made the right choice and we like the look of you. The soccer fans amongst you will notice how neatly this event is sandwiched between two games. Come on Poland! Many of you know this publication has taken a while. Needless to say it may never have happened if I hadn’t taken over the steering wheel at critical moments. The bare fact that these dialogues encompass four continents and a duration of four years speaks for itself. Richard, the images!”

I am now going to explain about the images which are no longer projecting. So she has asked me to tell you that the reason there are no images within the book except for the photographs on the back is very purposeful and deliberate because it’s about the text and it’s as simple as that. If you pick up an art book, which this isn’t, this is a series of dialogues, you look at the pictures, you look at the pictures, you know what the artists are talking about, you flick through the pictures and you think, got it. Well, on this rare occasion the images are being revealed to you, these are some of the images or main themes or works that appear in the book or the index. So this is a glimpse of what might have been but was deliberately chosen not to be in the book. Right to Tania!

“As I say at the foot of page one this book is totally stand alone. There is of course an intrinsic relationship to our collaborative installation the Manifestation but equally the text contextualises the dialogue and beyond. The word is more than the word or as I say on page sixty-eight back in 2004 I’d like some recognition beyond your titles on the wall, Richard, and credits on the door. Finally we’re getting there. And my name coming ahead of Layzell’s on the cover is simply a matter of decent alphabetisation.” She has now asked me to do a couple of things. She has asked me to explain that we have brought these along and decided that it as enough to bring them along. She has asked me to briefly put on this hat very briefly. She has asked me to hold a pepper grinder. She has asked me to hold it at a particular angle oh and she has also asked me to take some photographs of you first. She has never asked me to do this before but you know how it is.

This hat is from Japan via Germany

I sometimes think she’s taking the piss but of course she’s not. So back to the numbering and the price, this is the final thing she has asked me to do. Because of the significance of the five pounds ninety-seven and the twenty-one, what she’s asked me to do is to turn to page fifty-nine, this is the five-nine-seven-two-one sequence. Page fifty-nine line seven, word two and word one in fact on page fifty nine there isn’t a line seven so we go up to the last line, line five, words two and one which is “I’m ticket”. Then she has asked me to go to page ninety-five which is the reverse of the five and the nine, line seven, and again the two and the one is “which answer”. And finally, interestingly if the book had been priced at five seventy-nine there would have been twenty-one P change instead of the two and the one, so we are looking at that as well. That is page fifty-seven line nine two and the one is “I rushed” and just before that is placed together I will just go back to the two and the one for the numerologists here. Of course the two represents the female and the moon and the one in numerological terms represents the sun and the male. And how we fit in this is really open to you, who’s the male and who’s the female.

So I’m ticket, which answer. I’m ticket, I’m ticket. I’m ticket, which answer. I’m ticket, I rushed. I’m ticket. Which answer? Which answer? I’m ticket, I’m ticket. I’m ticket! Which answer? I rushed, I rushed. Which answer? I rushed. Which answer? I rushed. I’m ticket. I’m ticket. Which answer? I’m ticket, I’m ticket. I’m ticket. Which answer? I rushed. I’m ticket. I’m ticket. Which answer? I rushed. I rushed. I rushed. I’m ticket. I’m ticket. Which answer? I rushed. I’m ticket. I’m ticket. I’m ticket.

Oh, and do be careful of The Stumbling Block.

I meant to say there is a special gift of a stumbling block card this evening, whether or not you make that purchase. The final comment from Tania is “You are just so nice”.

 
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