Description:Q5827) - Revision history

Jessa Mockridge at 15:27, 8 July 2023

2023-07-08T15:27:38Z

← Older revision		Revision as of 15:27, 8 July 2023
Line 13:		Line 13:
	No, no, I found it but it does rather demonstrate the importance of archives when one can't remember one's own history. [laughter]. I have to say I have very little interest in my own history. As a Trotskyist, of course, I'm a keeper of history, just not my own. I'm an artist and writer. I've been, also, a curator - God help me! - a translator at times, and I am ‘The Editor’ (note the capitals) of MA BIBLIOTHÈQUE, which is a small publishing house. I've also to my great surprise, being called a poet on a number of occasions, which never ceases to astonish me.		No, no, I found it but it does rather demonstrate the importance of archives when one can't remember one's own history. [laughter]. I have to say I have very little interest in my own history. As a Trotskyist, of course, I'm a keeper of history, just not my own. I'm an artist and writer. I've been, also, a curator - God help me! - a translator at times, and I am ‘The Editor’ (note the capitals) of MA BIBLIOTHÈQUE, which is a small publishing house. I've also to my great surprise, being called a poet on a number of occasions, which never ceases to astonish me.

	The book that emerges, La Forme-Valeur, The Value-Form, is a 16 page booklet that was produced following an exhibition in France, derived from a number of wall texts taken from Marx, from Capital, the first bit, the bit everyone's read before he goes all economic and agricultural in the chapters, that no-one, even Marxists, haven’t read -- though they claim they have, but they’re always surprised when they come across the agricultural parts. The text, I’ll describe it: I am trying to find a woman speaking in Marx's Capital. Yet all I find is an object speaking, the charming voice of a commodity and the chorus of goods going to market (which is of course, from Luce Irigaray). The wall texts were in French painted by a signwriter against a pink background. This is not quite the right pink in the book. The sign writer was called Monsieur Claude Monet, with two ‘n’s, but you know, it’s one of those fortuitous things. And the phrases – it's simply when the commodity (happily) is feminine in French: la marchandise. So actually it was pretty easy to find ‘elle’ speaking in the translation. It was the first in a number of works that followed in my re-readings and rewritings of Marx.		The book that emerges, La Forme-Valeur, The Value-Form, is a 16 page booklet that was produced following an exhibition in France, derived from a number of wall texts taken from Marx, from Capital, the first bit, the bit everyone's read before he goes all economic and agricultural in the chapters, that no-one, even Marxists, haven’t read -- though they claim they have, but they’re always surprised when they come across the agricultural parts. The text, I’ll describe it: I am trying to find a woman speaking in Marx's Capital. Yet all I find is an object speaking, the charming voice of a commodity and the chorus of goods going to market (which is of course, from Luce Irigaray). The wall texts were in French painted by a signwriter against a pink background. This is not quite the right pink in the book. The sign writer was called Monsieur Claude Monet, with two ‘n’s, but you know, it’s one of those fortuitous things. And the phrases – it's simply when the commodity (happily) is feminine in French: 'la marchandise.' So actually it was pretty easy to find ‘elle’ speaking in the translation. It was the first in a number of works that followed in my re-readings and rewritings of Marx.

	It's also made after the packaging of the scent ‘Allure’ by Chanel, using the gold edging, which at the last moment, I had printed. It was before digital printing came in so anything you were doing offset cost a fortune, you couldn't do less than 500 or it wasn't worthwhile and then you just have boxes of books forever. Until you open the box and there were none left and you didn't remember selling any. You don't have, again, the sense the importance of archiving your history, and in any case, it's too easy to give it away - because history takes up far too much room. That's it. I’ll pass over to someone else.		It's also made after the packaging of the scent ‘Allure’ by Chanel, using the gold edging, which at the last moment, I had printed. It was before digital printing came in so anything you were doing offset cost a fortune, you couldn't do less than 500 or it wasn't worthwhile and then you just have boxes of books forever. Until you open the box and there were none left and you didn't remember selling any. You don't have, again, the sense the importance of archiving your history, and in any case, it's too easy to give it away - because history takes up far too much room. That's it. I’ll pass over to someone else.

Jessa Mockridge at 15:26, 8 July 2023

2023-07-08T15:26:08Z

← Older revision		Revision as of 15:26, 8 July 2023
Line 1:		Line 1:
	Transcript of an audio recording of Sharon Kivland introducing herself and her publication at a hybrid workshop with DAAP at the Women's Art Library, 27 May 2023:		Transcript of an audio recording of Sharon Kivland introducing herself and her publication at a hybrid workshop with DAAP at the Women's Art Library, 27 May 2023:

	Oh ~~god~~ I feared it might be me first because of course I’ve completely forgotten ~~what~~ publication, Jessa you suggested. Quick, a quick reminder.		Oh God, I feared it might be me first because of course I’ve completely forgotten which publication, Jessa, you suggested. Quick, a quick reminder.
	[laughing]
	[There are a few of yours in there [the WAL]. It’s ‘the Value one’ that’s in French and English. Do you know which one I mean?]		[laughing]
	~~No idea!~~
	~~[So Sharon should we come back to you or do you need a bit more time~~?]		[There are a few of yours in there (the WAL). It’s ‘the Value one’ that’s in French and English. Do you know which one I mean?]

	No no I found it but it sort of rather demonstrates the importance of archives when one can't remember one's own history. [laughter]. I have to say I have very little interest in my own history as a Trotskyist. Of course, I'm a keeper of history, but just not my own. I'm an artist and writer. I've been, also, a curator - God help me! - a translator at times, and I am ‘The Editor’ (note the capitals) of MA BIBLIOTHÈQUE which is a small publishing house. I've also to my great surprise, being called a poet on a number of occasions, which never ceases to astonish me.		No idea!

	~~The book that emerges, La Forme-Valeur, The Value-Form, it's a 16 page booklet that was produced following an exhibition in France, which were~~ a ~~number of wall texts from Marx, from capital The first~~ bit, the bit everyone's read before he goes all economic and shit, that bit no-one, even Marxists, haven’t read. Though they claim they have to but they’re always surprised when they come across the agricultural tractors. The texts, I’ll describe it.		[So Sharon should we come back to you or do you need a bit more time?]

	I ~~am trying~~ to ~~find~~ a ~~woman speaking in Marx~~'~~s capital~~. ~~Yet all~~ I ~~find is~~ an ~~object speaking~~, ~~the charming voice of~~ a ~~commodity~~ and the ~~chorus~~ of ~~goods going to market~~ which is ~~of course~~, ~~Luce Irigaray. The wall texts were in French painted by~~ a ~~signwriter against~~ a ~~pink background. This is not quite the right pink in the book~~.		No, no, I found it but it does rather demonstrate the importance of archives when one can't remember one's own history. [laughter]. I have to say I have very little interest in my own history. As a Trotskyist, of course, I'm a keeper of history, just not my own. I'm an artist and writer. I've been, also, a curator - God help me! - a translator at times, and I am ‘The Editor’ (note the capitals) of MA BIBLIOTHÈQUE, which is a small publishing house. I've also to my great surprise, being called a poet on a number of occasions, which never ceases to astonish me.

	The sign writer was called Monsieur Claude Monet, ~~but he actually put~~ two ‘n’s, but you know it’s one of those fortuitous things. And the phrases - it's simply when the commodity (happily) is feminine in French. So actually it was pretty easy to find ‘elle’ speaking in the translation. ~~It’s ‘it’. So it~~ was the first in a number of works that followed in my re-readings, and rewritings as Marx.		The book that emerges, La Forme-Valeur, The Value-Form, is a 16 page booklet that was produced following an exhibition in France, derived from a number of wall texts taken from Marx, from Capital, the first bit, the bit everyone's read before he goes all economic and agricultural in the chapters, that no-one, even Marxists, haven’t read -- though they claim they have, but they’re always surprised when they come across the agricultural parts. The text, I’ll describe it: I am trying to find a woman speaking in Marx's Capital. Yet all I find is an object speaking, the charming voice of a commodity and the chorus of goods going to market (which is of course, from Luce Irigaray). The wall texts were in French painted by a signwriter against a pink background. This is not quite the right pink in the book. The sign writer was called Monsieur Claude Monet, with two ‘n’s, but you know, it’s one of those fortuitous things. And the phrases – it's simply when the commodity (happily) is feminine in French: la marchandise. So actually it was pretty easy to find ‘elle’ speaking in the translation. It was the first in a number of works that followed in my re-readings and rewritings of Marx.

	It's also made after the packaging of ‘Allure’ by Chanel~~. Using~~ the gold edging, which at the last moment, I had printed. It was before digital printing came in so anything you were doing offset cost a fortune, you couldn't do less than 500 or it wasn't worthwhile and then you just have boxes of books forever. Until you open the box and there were none left and you didn't remember selling any. You don't have, again, the importance of ~~someone else~~ archiving your history, ~~because~~ it's too easy to give it away~~. Because~~ history takes up far too much room. That's it. I’ll pass over to someone else.		It's also made after the packaging of the scent ‘Allure’ by Chanel, using the gold edging, which at the last moment, I had printed. It was before digital printing came in so anything you were doing offset cost a fortune, you couldn't do less than 500 or it wasn't worthwhile and then you just have boxes of books forever. Until you open the box and there were none left and you didn't remember selling any. You don't have, again, the sense the importance of archiving your history, and in any case, it's too easy to give it away - because history takes up far too much room. That's it. I’ll pass over to someone else.

Jessa Mockridge at 21:46, 2 July 2023

2023-07-02T21:46:46Z

← Older revision		Revision as of 21:46, 2 July 2023
Line 1:		Line 1:
			Transcript of an audio recording of Sharon Kivland introducing herself and her publication at a hybrid workshop with DAAP at the Women's Art Library, 27 May 2023:

	Oh god I feared it might be me first because of course I’ve completely forgotten what publication, Jessa you suggested. Quick, a quick reminder.		Oh god I feared it might be me first because of course I’ve completely forgotten what publication, Jessa you suggested. Quick, a quick reminder.
	[laughing]		[laughing]

Jessa Mockridge: Created page with "Oh god I feared it might be me first because of course I’ve completely forgotten what publication, Jessa you suggested. Quick, a quick reminder. [laughing] [There are a few of yours in there [the WAL]. It’s ‘the Value one’ that’s in French and English. Do you know which one I mean?] No idea! [So Sharon should we come back to you or do you need a bit more time?] No no I found it but it sort of rather demonstrates the importance of archives when one can't rememb..."

2023-07-02T21:42:35Z

Created page with "Oh god I feared it might be me first because of course I’ve completely forgotten what publication, Jessa you suggested. Quick, a quick reminder. [laughing] [There are a few of yours in there [the WAL]. It’s ‘the Value one’ that’s in French and English. Do you know which one I mean?] No idea! [So Sharon should we come back to you or do you need a bit more time?] No no I found it but it sort of rather demonstrates the importance of archives when one can't rememb..."

New page

Oh god I feared it might be me first because of course I’ve completely forgotten what publication, Jessa you suggested. Quick, a quick reminder.
[laughing]
[There are a few of yours in there [the WAL]. It’s ‘the Value one’ that’s in French and English. Do you know which one I mean?]
No idea!
[So Sharon should we come back to you or do you need a bit more time?]

No no I found it but it sort of rather demonstrates the importance of archives when one can't remember one's own history. [laughter]. I have to say I have very little interest in my own history as a Trotskyist. Of course, I'm a keeper of history, but just not my own. I'm an artist and writer. I've been, also, a curator - God help me! - a translator at times, and I am ‘The Editor’ (note the capitals) of MA BIBLIOTHÈQUE which is a small publishing house. I've also to my great surprise, being called a poet on a number of occasions, which never ceases to astonish me.

The book that emerges, La Forme-Valeur, The Value-Form, it's a 16 page booklet that was produced following an exhibition in France, which were a number of wall texts from Marx, from capital The first bit, the bit everyone's read before he goes all economic and shit, that bit no-one, even Marxists, haven’t read. Though they claim they have to but they’re always surprised when they come across the agricultural tractors. The texts, I’ll describe it.

I am trying to find a woman speaking in Marx's capital. Yet all I find is an object speaking, the charming voice of a commodity and the chorus of goods going to market which is of course, Luce Irigaray. The wall texts were in French painted by a signwriter against a pink background. This is not quite the right pink in the book.

The sign writer was called Monsieur Claude Monet, but he actually put two ‘n’s, but you know it’s one of those fortuitous things. And the phrases - it's simply when the commodity (happily) is feminine in French. So actually it was pretty easy to find ‘elle’ speaking in the translation. It’s ‘it’. So it was the first in a number of works that followed in my re-readings, and rewritings as Marx.

It's also made after the packaging of ‘Allure’ by Chanel. Using the gold edging, which at the last moment, I had printed. It was before digital printing came in so anything you were doing offset cost a fortune, you couldn't do less than 500 or it wasn't worthwhile and then you just have boxes of books forever. Until you open the box and there were none left and you didn't remember selling any. You don't have, again, the importance of someone else archiving your history, because it's too easy to give it away. Because history takes up far too much room. That's it. I’ll pass over to someone else.