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Mike Sperlinger: The Artist's Apostrophe

From A tear forms along the seam

The Artist’s Apostrophe was Mike Sperlinger’s contribution to Entangling and Disentangling Printed Matter, the fourth session of the Critical Writing Ensemble that also included Aunohita Mojumdar, Dorothee Richter, Devika Singh, Sharmini Pereira and Mustafa Zaman. Organized as part of the 2016 Dhaka Art Summit, Sperlinger’s talk took Tracks: A Journal of Artists’ Writings (1974-1977) as a kind of study. Based in New York and edited by Herbert George, this artist-initiated serial publication proposed a non-standardized approach to writing, embracing a plurality of textual modes engaged by artists as systems of communication, points of contact, and strategies of collaboration. Sperlinger acknowledges that both writing/books and film/video are hybrid, impure forms which are both exciting and destabilizing to institutions of contemporary art. He asserts that the apostrophe is often used to domesticate the threat these forms pose—a threat that is encompassed by the practice and politics of distribution.

December 6, 2017

Dhaka Art Summit

Curated by

Jacob Korczynski

About the curator

Jacob Korczynski is an independent curator based in Toronto and the editor of Andrew James Paterson's Collection/Correction (Kunstverein Toronto & Mousse Publishing).