Image: Dr.W/Eduardo Navas

I am very happy to announce that [Re]Cuts is included in the exhibition “Dead Fingers Talk 2012: The Mayan Caper,” taking place at Galleri Box, Gothenberg, Sweden, From April 28 to May 27, 2012.  The exhibition is curated by Mark Jackson from IMT Gallery, London, England. For this exhibition, only the sound of the video is presented.

Many thanks to Mark for his continued support of my work.  Below is the official press release in Swedish, followed in English:

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Svenska:

Dead Fingers Talk 2012: The Mayan Caper
Revisiting Dead Fingers Talk: Bandexperiment av William S. Burroughs.

listen to your present time tapes and you will begin to see who you are and what you are doing here mix yesterday in with today and hear tomorrow your future rising out of old recordings
everybody splice himself in with everybody else

William S. Burroughs

Dead Fingers Talk 2012 – The Mayan Caper innehåller verk av Alma/Joe Ambrose, Steve Aylett, William S. Burroughs och Ian Sommerville, Anthony Joseph, Cathy Lane, Eduardo Navas, Simon Reuben White, Giorgio Sadotti, Scanner, Terre Thaemlitz, Laureana Toledo och Ultra-red, med Playback inspelningar av Alex Baker, Leslie Deere, Phillip Drummond, Lizzie Hughes, Mark Jackson, Duncan McAfee, Charlotte Norwood och Settimio Palermo.

Kuraterad av Mark Jackson för Galleri Box.

Dead Fingers Talk 2012 – The Mayan Caper är en serie ljudverk och experiment av konstnärer, musiker, författare, kompositörer och kuratorer inspirerade av William Burroughs verk.

Få författare har haft ett så stort inflytande över så många skiftande konstformer som William Burroughs. Burroughs, författare till bland annat Den nakna lunchen, Den mjuka maskinen och Tjacket referenseras det fortfarande regelbundet till inom musik, bild- och ljudkonst, film, webbaserad praktik och litteratur. En viktig men ofta förbisedd, aspekt av hans radikala ideer kring manipulation, teknologi och samhället finns i Burroughs många experiment med bandspelare från 1960 och -70 talet.

Under utställningen Dead Fingers Talk på IMT Gallery, London i 2010, ombads de medverkande att skapa en “inspelning” som respons till Burroughs bandexperiment. Med detta som utgångspunkt återbesöker Dead Fingers Talk 2012 – The Mayan Caper på Box några av dessa verk, här tillsammans med de inspelningar som Burroughs kallade Playback: parapsykologiska manipulationer av tid och rum som han trodde skulle komma få avgörande, ibland katastrofala konsekvenser.

Burroughs bruk av andras texter och inspelningar är med tanke på dagens diskussioner kring copyright och återanvändning av audiovisuell kultur högst relevanta. Han beskrev denna metod som befinnandes “closer to the facts of perception”.

Med sina pseudovetenskapliga undersökningar av ljud och människans relation till teknologi och det materiella är Burroghs ljudverk tidiga exempel på den viktiga roll konsten skulle komma att få i den digitala tidsåldern. Dessa var inspirerade av målaren Brion Gysin men egentligen aldrig menade som konst. The Mayan Caper visar upp en mångfald av möjliga förhållningssätt till denna periods nyskapande och banbrytande undersökningar.

Utställningen presenteras i sammarbete med  IMT Gallery, London där Mark Jackson är kurator. Jackson är specialiserad inom ljud, audiovisuella och interdisciplinära praktiker.

Bildtext; Dr.W / Eduardo Navas

English:

Dead Fingers Talk 2012: The Mayan Caper
Revisiting Dead Fingers Talk: The Tape Experiments of William S. Burroughs

listen to your present time tapes and you will begin to see who you are and what you are doing here mix yesterday in with today and hear tomorrow your future rising out of old recordings
everybody splice himself in with everybody else

William S. Burroughs

Dead Fingers Talk 2012 – The Mayan Caper includes work by Alma/Joe Ambrose, Steve Aylett, William S. Burroughs and Ian Sommerville, Anthony Joseph, Cathy Lane, Eduardo Navas, Simon Reuben White, Giorgio Sadotti, Scanner, Terre Thaemlitz, Laureana Toledo and Ultra-red, with ‘Playback’ recordings by Alex Baker, Leslie Deere, Phillip Drummond, Lizzie Hughes, Mark Jackson, Duncan McAfee, Charlotte Norwood and Settimio Palermo.

Curated by Mark Jackson for Galleri Box.

Dead Fingers Talk 2012 – The Mayan Caper is a series of sound art works and experiments by artists, musicians, writers, composers and curators inspired by the work of William Burroughs.

Few writers have exerted as great an influence over such a diverse range of art forms as William Burroughs. Burroughs, author of Naked Lunch, The Soft Machine and Junky, continues to be regularly referenced in music, visual art, sound art, film, web-based practice and literature. One typically overlooked, yet critically important, manifestation of his radical ideas about manipulation, technology and society is found in his extensive experiments with tape recorders in the 1960s and ’70s.

In 2010’s Dead Fingers Talk at IMT Gallery, London, contributors were asked to provide a “recording” in response to Burroughs’ tape experiments.  Following on from this Dead Fingers Talk 2012 – The Mayan Caper at Galleri Box revisits some of these diverse works alongside what Burroughs called ‘Playback’ recordings: parapsychic manipulations of time and space that he believed would have definite, sometimes disastrous, effects.

Burroughs’ described his use of the texts and recordings of others as “closer to the facts of perception” than traditional artistic activity, which make his ideas especially relevant today amidst heated discussions on the copyright and reuse of audiovisual culture.

Inspired by the painter Brion Gysin, and yet never meant as art but as a pseudo-scientific investigation of sounds and our relationship to technology and material, Burroughs’ tape experiments provided early examples of interactions essential for artists working in the digital age.  This new exhibition demonstrates the diversity of attitudes to such a groundbreaking period of investigation.

The exhibition is presented in collaboration with IMT Gallery, London where Mark Jackson is curator as well as independently. He specialises in sound, audiovisual and inter-disciplinary practices.

Image text; Dr.W / Eduardo Navas