The Collecting Works of Müleskind

Having marked out a circular section of riverbed, various objects are placed at specific locations, their exact positions marked out with string. Two porcelain discs, completely flat, without any flanging or discernible lips (they could not really be called plates), are set on the mud approximately three feet apart. They are of different sizes, though exact dimensions are not given in this instance. To the south of these 19 holes are drilled into the ground, all of varying depths and diameters. At the centre of the circular section is placed an enclosed dome made of plastic, filled with slightly-salted water, and filled with seaweed and various fishes. Again, the exact marine life required was not specified. The logistical problems of placing this dome of water onto a dry riverbed are not discussed. Two further discs are visible, one placed inside the plastic dome, set into the riverbed, made of black coal. This should be just visible through the strands of seaweed. The other disc is a patch of sandpaper attached to the curving surface on the north-east region of the dome. Just ahead of the ‘water feature’ (as it is labeled), there is a shallow indentation, similar in size to the smaller of the porcelain discs, which contains two fried eggs, their whites having cooked into one another. The effect, as when viewed from above (and from which vantage the surviving directions provide views) is a kind of figure-eight set in a shallow bowl. The elements of the work are thus brought together, according to the artist’s directions.
[A series of eight transcriptions were made of the movements of the mouth and the eyes at given events. Blinks, winks, as well as general indications of the direction of gazes, are indicated by lines emanating from circled dots. Often, the circled dots appear in pairs, linked by arching lines. The distance between the circled dots would seem to indicate some kind of tension or expressive gesture, though it is unclear exactly how this works. The thicker black lines would seem to correspond to the mouth, or more abstractly, to the voice, or to language. In some sense, given the similar configurations, these could be considered as crude portraits, face drawings.]
This installation consists of eight table arrangements, lined up in two rows of four. The edges of the tables, which are all to be covered with a simple white cloth, are given by dotted lines. In the first, a metal shell (similar to a bullet) marked on its base with two small marking, impressed into the metal, are rammed into the tabletop, pinching the tablecloth into the wood, and creating a emanation of creases surrounding it. Next to this, a circular form is drawn from thick black ink, made up of a matrix of lines and connected patches. The second has two projectiles hammered into the table surface, again pinching the cloth, but this time only marked on their bases by one dot each. Another smaller table is placed on top of the main one, upon which a lump of coal and a length of black wire is draped. The third arrangement is similar, but without the coal, and with lengths of white thread being drawn from one of the buried projectiles to the other, over the top of the second table. This is repeated in the fourth arrangement, but instead of the table, there are four lengths of oil-blackened chain, about two-foot long, which have been bent at the middle. Eight lengths of chain are to be found in the following arrangement, this time placed on their sides in two rows of four. In the next, they begin to be arranged around the buried projectiles, whilst the white threads have been drawn down flush with the table surface. the final two arrangement require two main tables, slotted over one another and covered with one white cloth. The buried shells, this time far apart on each side of the table, are accompanied by much smaller platforms (not quite tables now), again covered with white, and again linked (though this time not taut) by lengths of white thread. On top of the platforms in arrangement eight, we go back to lengths of black wire, coiled onto the flat surface. In the last arrangement, the table cloth is wedged down between the conjoined tables (requiring a straight edge), the lengths of thread have been cut and laid carefully over the border, while the buried projectiles are accompanied by the ink drawings similar to that in the first arrangement.
The outer part of the form is to be covered with flayed and trimmed chicken wire, which has been allowed to be completely covered by spiderwebs. Black stones are suspended in the centre of the enclosed cells of the wire, resting on the silk wherever possible. If they cannot be suspended they must be secured by the wire itself, but only as pairs. Within the main ring, a large circular folio of newsprint, treated with a corrosive so that the text is not decipherable, is centrally positioned. Several thousand grains of rice, then sugar, then salt (granulation becoming smaller toward the edges of the pile), which have been spilled on the paper, are meticulously drawn around with pencil, with the exception of another circular area, just off-centre. Crucially, a gap between the edge of the paper disc and the wire casing must be consistently maintained.

—- Make Eyes – – – – Six equally sized sea anemones pinched and drawn by threads, sliced by razor blades to accentuate the claps of the sphincter. A powerful light source is to shined through the pinched area making it seem that there is a hole. These are then to be pelted with speckled pebbles until the light source is obscured.

When you’re this far into describing, another background gives justice to one other type of ‘fire canal’. In the reading, which is more to the cause where the individual (that kicks) feels pity and wants to grieve for the developer who is seen to be remarkable, your talk sighs from you, with more kicks, being generally concerned with who and what is possible – you are this impression which stays.

It is the confinement and the dialogue which are to interrupt you. That (thing) density, as soon as it hits, gives this depiction of the field’s revealed lines. A possibility of doing. In order for there to be a gain and loss, you get a use. Will go out when writing, will be able to understand. I am bitter from the difference of hands. The chest cavity is narrow, and sits, sits, quietly, timidly tired of trying. The lumber is soft. All critique disrupts the soil and rolls up from the field, a phosphorus sound shouting in compliance with estrangement. My work of literature is in submersion from the surface which bites, and quickly passes over the shallow territory – all according to the ocean as the major matter of concern. A method of condition demands the fact that this will work, in order to compose from the progress which one sees. The contributor must remember the intermediate contraction amid its false starts, in compliance with the very end, wearing out, your vast quantity, to oppose only that which you emphasize. This is how one writes.

Carefully fashioned writing implements are found walled up in the apartment. Within a narrow cavity stretching from the floor to the ceiling, and which may have designed to house wiring, a small section was isolated with off-cuts of timber and padded on every side with thin layers of foam. Lifting off a rudimentary ‘lid’, the implements were found, held in place by a length of elastic, leaning from the bottom right corner to the top left. At about a metre in length, the dozen or so implements were bound together with thin bands of paper, one dark loop near the ‘heads’ and a lighter one lower down the ‘shafts’. The whole package resembled a sheaf of arrows, ‘though not a quiver ready to be fired but one sleeping in storage. The items nonetheless seemed both dangerous and at risk of being broken. Some discussion is made as to their precise use – mostly in terms of which ‘end’ was used for making marks – for some reason, the assumption that the objects were manufactured with writing in mind goes almost unchallenged. Yet the most striking thing about them is the delicacy and precision of their design and their construction. The ‘heads’ range from fine points (down to hairs) to bulbous swabs of polished pumice – each showing a unique orientation and shape. Intricate markings are distributed in specific areas, as well as evidence of inlaid metals and, occasionally, perforations and holes. Careful study reveals that every marking on the implements was made by another in the collection – they have all marked themselves with tribal patterns, perhaps whilst waiting inside the walls.

Firstly, concerning the field of activity / it is always a question of whether / the toxin is transmitted / remembering the oral phosphate bindings / for from the start I told two different things to each / yes, I played them off each other / but there was a lack of precise analytical techniques / and what there was involved destructive activation analyses / this is no way to consume aesthetics / or to produce affects / in all cases / 4 times to 10 times / daily / the editing process broke down / and all attempts to mark out groupings / became nothing but an evacuation / of writing / again and again I put my nail through it / starting from one single notion / it led to a unstable distribution / that bled across ostensible gaps / open pages seen from the side / this is how you are to see your applications of pressure / whether you use the machine or not / whether you are registered on the system or not / feel the joints of the wrist, the elbows / or is that the shoulders / feel the skull made up of several bowls / basins forced together / gradually filling up with its gratings / hold a book open for a length of time / just do that / this is the only directive to follow here


The blockages will occupy the cavities according to chance. The pipework is to be articulated around the exhibition space, starting from scratch – all pieces of copper are to be cut to size, carefully routed alongside the walls, taking in all the imperfections of the walls, being set into every window bay, over the hips of the skirting boards, then flashed and welded into a circuit as complex as need be. The walls and ceiling must be completely covered in pipework. Standard gauge pipes are to be used at all times – a domestic plumbing reference that should not be discarded. The blockages will take the form of flesh slices and hair – gruesome slivers of meat – that will begin to rot and emit a smell. Only when the odour has become unbearable will the dispersant, or corrosive bleach substitute, be fed into the circuit and the ‘tone’ valves opened. A series of recording devices will already be in place and running at this time, ready to capture the emitted music. All spectators must be out of range of the microphones for at least the following day. Any resulting recording – of any length – must not be modified and should be distributed in a package of greaseproof paper.