Andrew Walsh-Lister

a year to the day since the opening of Lily Greenham: An Art of Living at Badischer Kunstverein, Karlsruhe 〰 pictured: polar polaris / traffic reel-to-reel tape, photos from the opening by @leeraewalsh , study for a homecomputer graphic & install images 〰 tomorrow I leave for Vienna & Graz to continue researching / encircling 〰 opening on 22 March @kunsthalmechelen I have a polyglot-conversation-text-sound piece in dialogue with LG as part of the exhibition ‘eye below ear’ curated by @melzacka_alicja

‘oder doch noch’, my contribution to Lunar Practices @b09k.book in Changsha, is currently installed as billboard / lightbox / sound and on view until 20 September. a big thank you to @_yue.yuan_ for the invitation * ‘oder doch noch’ is a chorus in two parts. On the exterior, a two-sided document is flattened and blown-up to 13.5 times its original size. On the interior, a sound piece constructed from contact mic tracings of one side and extracted interpunctal gestures from the other plays on an elongated 1 hour 34 minute loop, stretched-out to the length of the chain of correspondence vocalised / read aloud. At this scale a full stop is around the size of a standard shirt sleeve button and duration of the time it takes to type out the English alphabet. For the last 4–5 years Andrew Walsh-Lister has been researching and cataloguing the archive of artist, performer and sound-poet Lily Greenham. At the heart of this archive is Greenham’s approach to ‘lingual music’ — a practice of layering and processing reel-to-reel tape recordings of her own voice, and use of speech as a basic element — and ‘neo-semantics’ — the search for connections between language, light, sounds, rhythm and wavelengths. ‘oder doch noch’ is part of Andrew Walsh-Lister’s ongoing conversation with Lily Greenham, and relates to the reactivation and epistolary traces of unrealised proposals for the 1970 Venice Biennale. *

Delighted to be in Belgium for the finissage of ‘eye below ear’ @kunsthalmechelen beautifully curated and choreographed by @melzacka_alicja with assistant curator @_suf.fix_ 〰 to get to see my ‘polyglottes globe-trotten, konversations-texts’ two-channel sound and text score piece installed alongside Eleanor Ivory Weber, Ghislaine Leung, @jjjjjeromeellis , @juliuspristauz , @p___staff , @reiniervrancken , @clokserene , Slow Reading Club (@henry_j_andersen & @bryana_fritz ) & @the_letters_pace_department 〰 and to be in the audience for performances by @clokserene & @melodieblaison and @jjjjjeromeellis

tumbling continents, computer treetrunk, bow tie dance, sci-fi landscape, mathematical dome-fragments 〰 I recently gave a short video lecture @kunsthallewien on LG’s homecomputer graphics as part of an evening on Lily Greenham connected to the exhibition ‘Radical Software: Women, Art & Computing 1960–1991’. The evening also included a talk and listening session by @jpiringer and LIA. Thanks to Andrea Hubin for the invitation. * (excerpt from lecture) To me, the fluttering helical forms of her homecomputer graphics, and stutters of language that begin to emerge in them — LLLL, HHHH, NUR, DUN, WIEN — offer a kind of spiraling path or through-line to her output. From the gestural abstract forms of her early etchings, to the calculated repeating patterns of her op art works, to her phonetic explorations that often isolated vowel sounds and the ‘basic elements’ of speech, to her open attitude towards emerging technologies for sampling, manipulating and composing. And as such, they map out a kind a territory — of tumbling continents and computer treetrunks — that charts her entire trajectory and practice as ‘writer (poet) / composer / painter / performer’. * image 1: homecomputer graphic studies vitrine in Radical Software at Mudam Luxembourg, photo by Mareike Tocha; images 4 & 6: homecomputer graphics in Radical Software at Kunsthalle Wien

eye below ear → on now until 8 June @kunsthalmechelen curated by @melzacka_alicja w. assistant curator @_suf.fix_ I have a two-channel sound and text score piece in the show titled, ‘polyglottes globe-trotten, konversations-texts’, installed as two directional sound shower panels and floor vinyl. Very honoured to be part of such an incredible lineup, showing alongside Eleanor Ivory Weber, Ghislaine Leung, @jjjjjeromeellis , @juliuspristauz , @p___staff , @reiniervrancken , @clokserene , Slow Reading Club (@henry_j_andersen & @bryana_fritz ) & @wim_de_pauw_ A huge thankyou to @melzacka_alicja , @_suf.fix_ & @stevenopdebeeck2800 Images 1 & 3: install photos by @usefulartservices Images 2, 4, 7 & 8: opening photos by @hansmaakteenfoto Images 5 & 6: programme & exhibition description by @melzacka_alicja eye below ear speaks to the politics and poetics inherent in the relationship between sound, body, and temporality, and particularly their variants deemed non-normative by the linguistic, medical, economic, and social frameworks. Inspired by the title of Trinh T. Minh-ha’s 1985 essay ‘Ear Below Eye’, the exhibition’s title enacts a flip, not to assert a hierarchy but to demonstrate how the meaning of the title may change depending on its mode of transmission: as text, image, or speech. Anticipating the tactics used in the exhibition, the title embraces errancy and opaqueness as generative forces. A discordance exists between what the title communicates visually and textually. When spoken, it allows for a wealth of meanings to arise from the potential confusion of ‘eye’ with ‘I’, or ‘below’ with ‘bellow’. The title also evokes an image of a rearranged physiognomy, which resonates with those works in the show that explore bodily intermediation / transformation / substitution.

LLLLLL im WIEN 〰 leaving Austria after two very special weeks of research 〰 during which I got to interview Kurt Schwertsik at his home in Vienna (and borrow some Tyrol wool slippers); visit offsite holdings and sift through papers at the Neue Galerie Graz with Karin Buol-Wischenau; tour Fria Elfen-Frenken’s home and former Werkstatt Breitenbrunn space in Burgenland (where LG performed in 1978); spend a day with letters, postcards and telegrams in the wooden-clad bunker of the Archiv der Zeitgenossen in Krems an der Donau; see LG’s homecomputer graphics editions and studies installed in Radical Software at Kunsthalle Wien, curated by Michelle Cotton (@michellecottton ); spend some time with Ernst Jandl and Thomas Bernhard papers at the Österreichische Nationalbibliothek Literaturarchiv; visit Jandl and Friederike Mayröcker’s shared grave (nearby Ligeti, Schonberg, Strauss, Brahms, Schubert & H.C. Artmann); see lots of exhibitions, eat some Café Hawelka strudel and retrace many charged paths and places

An A to Z of Indexing / Organising / Cataloguing BFTK for Two Voices (voice one: @matthew__j__s / voice two: @a___w___l ) read at rile* (@rile.books ) ~ thanks to @svendehens & @chloechignell for hosting us in Brussels

Stripped bare Kohlswat ~ setup for BFTK reading / show & tell across two screens at @hfg_ka / @hfg_karlsruhe_kd & teaching on By Any Other Name seminar with @linegry ~ thanks to @bardhihaliti & @ninaoverkott for hosting

*part one of a mini euro tour: amsterdam* setup for a listening session / talk ‘Elastic Collisions: Lingual Music from the Lily Greenham Archive’ with @00interlude00 in the Gerrit Rietveld Academie library @libraryrietveldsandberg (a big thank you to @charmschooldroppout & @giulinicolai for organising) 〰 Lily research in the Stedelijk Museum archives @stedelijkmuseumlibrary 〰 visits to @ificantdance_ & @boekiewoekie

Behind the scenes from the install of Lily Greenham: An Art of Living, on now until 26 May @badischer_kunstverein *tune in to reality* on 3 & 4 May there will be a symposium as part of the exhibition, with talks, sounds, readings & performances, featuring @valentina.traianova , @designingwriting , Eva Badura-Triska, Ian Stonehouse, Katrina Liberiou, @banana_harm , @voicextensions & @bricks.from.the.kiln

*flowers for Lily* 〰 a few impressions from Lily Greenham: An Art of Living @badischer_kunstverein curated with James Bulley, Anja Casser & @designingwriting 〰 open now until 26 May An intense and utterly enlivening experience listening / looking / cataloguing / curating / working with the Lily Greenham archive for the last number of years 〰 the exhibition spans multiple spaces and floors as spatialised sound, lingual music, typographic voice, aphorisms for contemplation, newly unearthed kinetic lightboxes, previously unexhibited ‘homecomputer graphics’, films, facsimiles, tapes and many archival gems here with daffodils picked by Ian Stonehouse from the site of Lily’s ashes in London

On site @badischer_kunstverein in Karlsruhe plotting / planning / sounding ‘Lily Greenham: An Art of Living’, due to open in March 2024, curated with Anja Casser, James Bulley and Alex Balgiu (@designingwriting )