{"id":39,"date":"2022-10-26T07:23:08","date_gmt":"2022-10-26T04:23:08","guid":{"rendered":"https:\/\/nivel.teak.fi\/nivel16\/?p=39"},"modified":"2022-11-10T14:45:23","modified_gmt":"2022-11-10T12:45:23","slug":"references","status":"publish","type":"post","link":"https:\/\/nivel.teak.fi\/nivel16\/references\/","title":{"rendered":"References"},"content":{"rendered":"\n

for THE ALMOST MANUAL: On Asynchrony, Time Lapse, Choreography, and Extravagant Details in Life and Creative Process<\/em><\/p>\n\n\n\n

COVER AND BACK-COVER<\/strong><\/p>\n\n\n\n

DRAWINGS<\/p>\n\n\n\n

L. Gaudreau. (2021).<\/p>\n\n\n\n

Part One<\/h2>\n\n\n\n

Letter to Pier Paolo Pasolini<\/h3>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

Pasolini, P. P. (1966). Ucellacci e uccellini<\/em> [film].<\/p>\n\n\n\n

Pasolini P. P. (1968). Teorema<\/em> [film].<\/p>\n\n\n\n

Pasolini, P. P. (1981). Sal\u00f2 o le 120 giornate di Sodoma<\/em> [film].<\/p>\n\n\n\n

DRAWINGS<\/p>\n\n\n\n

Lynda Gaudreau. (2021).<\/p>\n\n\n\n

Letter to Jonathan Burrows and Matteo Fargion<\/h3>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

Burrows, J., Fargion, F. (2002). Both Sitting Duet <\/em>[choreographic work].<\/p>\n\n\n\n

Burrows, J., Fargion, F. (2014). Body Not Fit For Purpose <\/em>[choreographic work].<\/p>\n\n\n\n

Gaudreau, L. (2005). Encyclop\u0153dia \u2013 DOCUMENT 4 <\/em>[choreographic work].<\/p>\n\n\n\n

Gaudreau, L. (2006). 0101<\/em> [choreographic work].<\/p>\n\n\n\n

Gaudreau, L. (2010). Out of Grace<\/em> [choreographic work and installation].<\/p>\n\n\n\n

VISUAL SCORE PAGES<\/p>\n\n\n\n

The two pages in the image are from the personal score of Matteo Fargion and Jonathan Burrows for Both Sitting Duet <\/em>(2002).<\/p>\n\n\n\n

DRAWINGS<\/p>\n\n\n\n

L. Gaudreau. (2020).<\/p>\n\n\n\n

ARTIST REFERENCE<\/p>\n\n\n\n

Vivienne Westwood (1941\u2013). British fashion designer.<\/p>\n\n\n\n

Letter to Miklos Ga\u00e1l<\/h3>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Abbott, E. A. (1998). Flatland: A Romance of Many Dimensions<\/em> (E. Gille, trad.). Paris: Deno\u00ebl. (Originally published in 1884).<\/p>\n\n\n\n

Lee, P. (2000). Object to be destroyed: The work of Gordon Matta-Clark<\/em>. Cambridge (MA): MIT Press.<\/p>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

VISUAL<\/p>\n\n\n\n

Ga\u00e1l, M.<\/p>\n\n\n\n

Demonstration Day<\/em>. (2003). 108 x 136,5 cm, digital C-print.<\/p>\n\n\n\n

Swimming Lesson 5<\/em>, from series of seven photographs (1\u20137). (2004). 58 x 58 cm, digital C-print.<\/p>\n\n\n\n

Telephone Booth<\/em>. (2005). 89 x 112 cm, digital C-print.<\/p>\n\n\n\n

Sunday Afternoon<\/em>. (2003). 13 8x 110 cm, digital C-print.<\/p>\n\n\n\n

Morning Walk<\/em>. (2003). 90 x 110 cm, digital C-print.<\/p>\n\n\n\n

Schoolyard 1 and 2<\/em>. (2010). 89 x 112 cm, digital C-print.<\/p>\n\n\n\n

Gaudreau. L. (2010). Dog 1<\/em>.<\/p>\n\n\n\n

Gaudreau. L. (2010). Panda 1<\/em>.<\/p>\n\n\n\n

Gaudreau, L. (2006). 0101<\/em> [choreographic work].<\/p>\n\n\n\n

Kaufman, C. (2015). Anomalisa<\/em> [film].<\/p>\n\n\n\n

ARTIST REFERENCE<\/p>\n\n\n\n

Gordon Matta-Clark (1943\u20131978). American artist.<\/p>\n\n\n\n

Letter to Alberto Giacometti<\/h3>\n\n\n\n

REFERENCE<\/p>\n\n\n\n

Sontag, S. (1961). Against interpretation and other <\/em>essays. New York: Delta Book. https:\/\/shifter-magazine.com\/wp-content\/uploads\/2015\/10\/Sontag-Against-Interpretation.pdf<\/a> (retrieved December 5th, 2021)<\/p>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

VISUAL<\/p>\n\n\n\n

Kyyhkynen Kaisla<\/p>\n\n\n\n

Untitled 1<\/em>. (2019). 104 x 71 cm, charcoal.<\/p>\n\n\n\n

Untitled 2<\/em>. (2019). 100 x 70 cm, oil pastels.<\/p>\n\n\n\n

Untitled 3<\/em>. (2019). 104 x 71 cm, oil bars (beeswax, raw linseed oil and pigment).<\/p>\n\n\n\n

Untitled 4<\/em>. (2020). 100 x 70 cm, charcoal.<\/p>\n\n\n\n

Gaudreau, L. (2006). 0101<\/em> [choreographic work].<\/p>\n\n\n\n

Turell, J. (2004). Cherry<\/em> [installation]. Paris: Almine Rech Gallery.<\/p>\n\n\n\n

Metzger, G. (1959). Auto-Destructive Art<\/em>. http:\/\/radicalart.info\/destruction\/metzger.html<\/a> (retrieved February 14, 2015).<\/p>\n\n\n\n

PHOTOGRAPHER<\/p>\n\n\n\n

L. Gaudreau (2021). Burnings Pages 1, 2, 3, 4<\/em>.<\/p>\n\n\n\n

ARTISTS REFERENCE<\/p>\n\n\n\n

Trisha Brown (1936\u20132017). American choreographer and dancer. One of the members and founder of the Judson Dance Theater\/Church.<\/p>\n\n\n\n

Lucinda Childs (1940\u2013). American dancer, choreographer, and actress. One of the members and founder of the Judson Dance Theater\/Church.<\/p>\n\n\n\n

Anne Teresa de Keersmaeker (1960\u2013). Flemish choreographer and dancer. Leading figure of dance in Belgium and beyond.<\/p>\n\n\n\n

Judson Theater Church was a collective of dancers, composers, and visual artists who performed at the Judson Memorial Church in Greenwich Village, Manhattan New York City between 1962 and 1964.<\/p>\n\n\n\n

Oscar Wilde (1854\u20131900). Irish poet and playwright.<\/p>\n\n\n\n

Moodymann et Dixon, K. (producer). (2014). Come 2 me .<\/p>\n\n\n\n

Letter to Dominique Gonzalez-Foerster and Ari Benjamin Meyers<\/h3>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Wajcman, G. (2004). Fen\u00eatre<\/em>, chroniques du regard et de l\u2019intime<\/em>. Paris: Verdier.<\/p>\n\n\n\n

Dieutre, V. (2000). \u00c9loge du vibratile<\/em>. In La Lettre du Cin\u00e9ma<\/em> no<\/sup> 15. Paris: P.O.L.<\/p>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

Gonzalez-Foerster and D. Benjamin-Meyers, A. (2011). K.62, K.73, K.85 [theatre performance].<\/p>\n\n\n\n

Rossi, F. (1968). L\u2019Odyss\u00e9e<\/em> [TV series].<\/p>\n\n\n\n

DRAWINGS<\/p>\n\n\n\n

L. Gaudreau. (2020).<\/p>\n\n\n\n

ARTISTS REFERENCE<\/p>\n\n\n\n

Nick Cave (1957\u2013). Australian singer, songwriter, author, and screenwriter.<\/p>\n\n\n\n

David Lynch (1946\u2013). American film director, producer, actor, painter, writer, musician.<\/p>\n\n\n\n

Martin Scorsese (1942\u2013). American film director, producer, screenwriter, and actor.<\/p>\n\n\n\n

Wim Wenders (1945\u2013). German film director, playwright, author, and photographer.<\/p>\n\n\n\n

Part Two<\/h2>\n\n\n\n

Strips with Saana Lavaste<\/h3>\n\n\n\n

On error, space and ikebana in the making of a theatre play<\/em><\/strong><\/p>\n\n\n\n

PHOTOGRAPHER<\/p>\n\n\n\n

Photo: Lynda Gaudreau. (2020). In the photo: Saana Lavaste at Harjun Kukka.<\/p>\n\n\n\n

Letter to Balthazar<\/h3>\n\n\n\n

Balthazar is the name of the donkey in Au Hasard Balthazar<\/em>, the 1966 film by director Robert Bresson.<\/p>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Bresson, R. (2013). Bresson par Bresson: entretiens, 1943\u20131983<\/em>. Paris: Flammarion.<\/p>\n\n\n\n

Villani, V. (2008). Dario Argento<\/em>. Roma: Gremese.<\/p>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

Bresson, R. (1966). Au hasard Balthazar<\/em> [film].<\/p>\n\n\n\n

July, M. (2005). Me and you and everyone we know <\/em>[film].<\/p>\n\n\n\n

Gaudreau, L. (2010). Out of Grace<\/em> [choreographic work and installation].<\/p>\n\n\n\n

Gaudreau, L. (2012). Out of Grace,<\/em> M Museum, Leuven<\/em> [choreographic work and installation].<\/p>\n\n\n\n

Gaudreau, L. (2014). Out of Mies<\/em> [installation].<\/p>\n\n\n\n

Gaudreau, L. (2006). 0101<\/em> [choreographic work and installation].<\/p>\n\n\n\n

ARTISTS REFERENCE<\/p>\n\n\n\n

Dario Argento (1940\u2013). Italian film director, producer, screenwriter, and critic. Influential work in the horror genre during the 1970s and 1980s.<\/p>\n\n\n\n

Miranda July (1947\u2013). American film director, screenwriter, singer, actress, author, and artist.<\/p>\n\n\n\n

Gena Rowlands (1930\u2013). American actress with a career spanning over 60 years. Also known for her close collaborations in ten films with her late actor-director husband John Cassavetes<\/a>.<\/p>\n\n\n\n

Seymour Cassel (1935\u20132019). American actor. Close collaborator of independent filmmaker John Cassavetes.<\/p>\n\n\n\n

Ludwig Mies van der Rohe (1986\u20131969). German-born American architect. Regarded as one of the pioneers of modernist architecture.<\/p>\n\n\n\n

A fable with Leena Rouhiainen<\/h3>\n\n\n\n

On diachrony and the alien, through the lens of Emmanuel Levinas and Bernhard Waldenfels<\/em><\/strong><\/p>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Levinas, E. (2000). Otherwise than Being: or Beyond Essence<\/em>. Third printing. Trans. Alphonso Lingis. Pittsburg PA: Duquesne University Press.<\/p>\n\n\n\n

Waldenfels, B. (2011). Phenomenology of the Alien: Basic Concepts<\/em>. Trans Alexander Kozin and Tanja St\u00e5hler. Evanston, Illinois: Northwestern University Press.<\/p>\n\n\n\n

DRAWINGS<\/p>\n\n\n\n

L. Gaudreau. (2021).<\/p>\n\n\n\n

Letter to Bartleby and Bartlebys<\/h3>\n\n\n\n

Bartleby is a character invented by writer Herman Melville for his new eponym written in 1853. Bartleby is an atypical character who refuses all solicitations by answering invariably: I would prefer not to. The writer Enrique Vila-Matas reappropriated this character in Bartleby et compagnie<\/em> (2009) by imagining a community of negative writers, the Bartlebys.<\/p>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Beckett, S. (1952). En attendant Godot<\/em>. Paris: \u00c9ditions de Minuit.<\/p>\n\n\n\n

Beckett, S. (1963). Oh, les beaux jours<\/em>. Paris: \u00c9ditions de Minuit.<\/p>\n\n\n\n

Blanchot, M. (1962). L\u2019attente, l\u2019oubli<\/em>. Paris: Gallimard.<\/p>\n\n\n\n

Duras, M. (1993). \u00c9crire<\/em>. Paris: Gallimard.<\/p>\n\n\n\n

L\u00e9ger, N. (2013). Suppl\u00e9ment \u00e0 la vie de Barbara Loden<\/em>. Paris: Gallimard.<\/p>\n\n\n\n

Lev\u00e9, \u00c9. (2002c). \u0152uvres<\/em>. Paris: P.O.L.<\/p>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

Beckett, S. (1952). Quad<\/em> [TV series].<\/p>\n\n\n\n

Gaudreau, L. (2006). 0101<\/em> [choreographic work].<\/p>\n\n\n\n

Loden. B. (1971). Wanda<\/em> [film]. New York.<\/p>\n\n\n\n

Opa\u0142ka, R. Details 1965 \/ 1\u2013\u221e<\/em>. [painting, recording, photographers].<\/p>\n\n\n\n

Rauschenberg. R. (1953). Erased De Kooning<\/em> [drawing].<\/p>\n\n\n\n

ARTISTS REFERENCE<\/p>\n\n\n\n

Roman Opa\u0142ka (1931\u20132011). French-born Polish painter, associated with conceptual art. In 1965, in his studio in Warsaw, Opa\u0142ka starts his lifelong project and began painting numbers from one to infinity. The final number painted was 5607249.<\/p>\n\n\n\n

Strips with Tero Nauha<\/h3>\n\n\n\n

On fabulation, stockbrokers, volatility, glitches, mistakes, and fabulation again<\/em><\/strong><\/p>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Darabi, Hannah. (2018). Enghelab Street, a Revolution through Books: Iran 1979\u20131983. <\/em>Leipzig: Spector Books.<\/p>\n\n\n\n

Deleuze, Gilles. (1983). L’image-mouvement. <\/em>Paris: \u00c9ditions de Minuit.<\/p>\n\n\n\n

Deleuze, Gilles. (1985). L’image-temps.<\/em> Paris: \u00c9ditions de Minuit.<\/p>\n\n\n\n

Guattari, F\u00e9lix. (2013). Schizoanalytic Cartographies<\/em>. Translated by Andrew Goffey. London: Bloomsbury.<\/p>\n\n\n\n

Hongisto, Ilona. (2015). Soul of Documentary: Framing, Expression, Ethics<\/em>. Amsterdam: Amsterdam University Press.<\/p>\n\n\n\n

Rodgers, Tara. (2010). Pink Noises: Women and Electronic Music and Sound<\/em>. Durham: Duke University Press.<\/p>\n\n\n\n

Sauvagnargues, Anne. (2016). Artmachines: Deleuze, Guattari, Simondon<\/em>. Translated by Suzanne Verderber and Eugene W. Holland. Edinburgh: Edinburgh University Press.<\/p>\n\n\n\n

Taleb, Nassim Nicholas. (2007). Le Cygne noir: La puissance de l’impr\u00e9visible (The Black Swan).<\/em> New York City: Random House.<\/p>\n\n\n\n

ARTISTS REFERENCE<\/p>\n\n\n\n

Elie Ayache. (1966\u2013). Born in Lebanon, Ayache is an author of many articles on the philosophy of derivatives trading.<\/p>\n\n\n\n

John Cage. (1912\u20131992). American composer, music theorist, artist, and philosopher. Leading figure of post-war avant-garde.<\/p>\n\n\n\n

Filippo Tommaso Emilio Marinetti. (1876\u20131944). Italian poet, editor, art theorist, and founder of the Futurist movement.<\/p>\n\n\n\n

DRAWINGS<\/p>\n\n\n\n

L. Gaudreau. (2020).<\/p>\n\n\n\n

Letter to a young artist: Bobby<\/h3>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Wittgentstein, L. (1968). Philosophical investigations <\/em>(G.E.M. Anscombe, trad.). Oxford: Blackwell. (Originally published in 1953).<\/p>\n\n\n\n

Price, C. (1984). The square book<\/em>. Chichester (R.-U.): Wiley Academy.<\/p>\n\n\n\n

ONLINE<\/p>\n\n\n\n

Herdt, T. (2012). The McAppy Project: How Cedric Price brought systems-thinking to modern architecture. Candide, 10(6), 45\u201372. http:\/\/www.candidejournal.net\/wpcontent\/uploads\/downloads\/2013\/10\/CAN06_Analysis_Herdt.pdf<\/a> (retrieved 1 September 2013).<\/p>\n\n\n\n

ARTWORKS<\/p>\n\n\n\n

Tati, J. (1967). Playtime <\/em>[film].<\/p>\n\n\n\n

ARTISTS REFERENCE<\/p>\n\n\n\n

Robert Bresson. (1901\u20131999). French film director.<\/p>\n\n\n\n

Cedric Price. (1934\u20132003). English architect and influential teacher and writer on architecture.<\/p>\n\n\n\n

A photo-novel with Hanna J\u00e4rvinen<\/h3>\n\n\n\n

Detective work: destabilizing self-evidence and cracking the narratives<\/em><\/strong><\/p>\n\n\n\n

REFERENCES<\/p>\n\n\n\n

Motten. F. (2003). In The Break: The Aesthetics of The Black Radical<\/em>. Minneapolis: University of Minnesota Press.<\/p>\n\n\n\n

Harney. S. and Moten. F. (2013). The Undercommons: Fugitive Planning & Black Study. <\/em>Wivenhoe; New York; Port Watson: Minor Compositions.<\/p>\n\n\n\n

ARTISTS REFERENCE<\/p>\n\n\n\n

James Brown (1933\u20132006). American singer, songwriter, dancer, musician, record producer, and bandleader. The central progenitor of funk music.<\/p>\n\n\n\n

PHOTOGRAPHER<\/p>\n\n\n\n

Lynda Gaudreau. (2020). In the photo: Hanna J\u00e4rvinen.<\/p>\n\n\n\n

Epistolary exchanges between Lynda Gaudreau and Kenneth Siren<\/h3>\n\n\n\n

Addressing queer selves<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

for THE ALMOST MANUAL: On Asynchrony, Time Lapse, Choreography, and Extravagant Details in Life and […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-39","post","type-post","status-publish","format-standard","hentry","category-editorial"],"acf":[],"_links":{"self":[{"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/posts\/39","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/comments?post=39"}],"version-history":[{"count":6,"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/posts\/39\/revisions"}],"predecessor-version":[{"id":336,"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/posts\/39\/revisions\/336"}],"wp:attachment":[{"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/media?parent=39"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/categories?post=39"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nivel.teak.fi\/nivel16\/wp-json\/wp\/v2\/tags?post=39"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}