Eleanor Weber

Exquisite Consequences now online

6 June 2016

Group writing piece Exquisite Consequences is now online.

The collaborative text is made by four groups of writers who over the period given by designer Ella Sutherland each responded in writing to the last line of the previous writer’s text. It takes its structure from the Surrealist method known as the ‘Exquisite Corpse’, where artists would draw the following part of the body without seeing the one preceding.

Reimagined in words in an age where writing and text is being explored to adorn, distance, evade and evoke the body, the press release and announcement for Exquisite Consequences suggests poignantly that “each body hangs on this sequence”.

Included in the work is contributions by Eleanor Weber, who had a solo show incorporating text and readings at Berlin’s M.I/mi1glisse earlier this year, and for which Sutherland designed the font, Z.O Mahoney, Kelly Fliedner, Catherine Borra and others who just go by their initials, like BF, AG and AC.

See the Exquisite Consequences website for more details.**

Eleanor Weber, No Private Problems (2016). Opening text accompanying image. Courtesy the artist and M.I/mi1glissé.
Eleanor Weber, No Private Problems (2016). Opening text accompanying image. Courtesy the artist and M.I/mi1glissé.
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Peeping Tom’s Digest: the Paris issue launch @ Shanaynay, Jun 2

29 May 2016

The fourth issue of Peeping Tom’s Digest: Paris, is launching at project space Shanaynay on June 2.

The publication explores different art scenes around the world and is described as “experimental, empirical and subjective”. For every issue it takes a different city and houses text- and image-based contributions from both local and visiting participants. Previous editions have been on Berlin in 2009, Mexico City in 2011, and Beirut in 2013.

The Paris issue according to the press release “teases out an offbeat and distanced portrait of the Parisian and French scene, through the restitution of work groups (dinners, performances, round table) and contributions from 70 participants for whom a certain detachment was chosen or imposed: foreigners living in Paris or in residency, French people based abroad, nomads and dromomaniacs passing through, etc.”

Linked, and contributing to this particular scene and its write up are Eleanor Ivory Weber, Exo Exo founders Elisa Rigoulet and Antoine DonzeaudFenêtreproject, Gallerie Chantel Crousel, Mouhamed Bourouissa, Maxime Bichon who has worked with Paul Maheke, and curatorial duo Francesco Urbano Ragazzi.

See the Peeping Tom website for details.**

Maxime Bichon. Courtesy the artist.
Maxime Bichon. Courtesy the artist.



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General Fine Arts + Asta Meldal Lynge publication launch, March 8

8 March 2016

General Fine Arts and artist Asta Meldal Lynge are having a joint publication launch at London’s All Hallows Church’s a.m. London on March 8.

e-publication General Fine Arts introduces the first issue of their second volume, ‘Values’, which is guest-edited by Tom Clark, while Asta Meldal Lynge will introduce ‘Real state’.

There will be a video reading by manuel arturo abreu and a presentation by Anna Zett at 8pm.

‘Values’ contributors include audio, text and image-based work by the above, as well as William Kherbek, Imran Perretta, Marina Vishmidt, Martin Kohout and Eleanor Ivory Weber whose text will also feature in visual essay ‘Real state’.

See the FB event for further information on the two publications.**

manuel arturo abreu, untitled 2015). Courtesy the artist.
manuel arturo abreu, ‘untitled’ (2015). Courtesy the artist.


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Eleanor Weber @ M.I., opening Feb 24

24 February 2016

Berlin’s M.I is hosting No Private Problems, a solo presentation by writer Eleanor Weber, which opens on February 24.

There is hardly any information to indicate what will be in the space and how the work will exist, although we are given dates for ‘voice sessions’ that span the gap between February and March.

M.I have been posting texts, small and long, throughout the Facebook event page, which reference Joan of Arc, gender pronouns, the abstract voice, sitting in a church, and a quote by Lacan: “only Saints are detached from the deepest of the common passions to avoid the aggressive reactions to charity”.

Weber recently performed in After The Eclipse V.

See the FB event page for (limited) details**

Image from M.I. FB event wall, No Private Problems (2016). Courtesy Eleanor Webber and M.I.
Image from M.I facebook event wall for No Private Problems (2016). Courtesy Eleanor Weber and M.I/mi1glissé, Berlin.
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An interview with Harry Sanderson & Arcadia Missa

14 October 2013

As part of South London gallery Arcadia Missa‘s ‘(networked) every whisper is a crash on my ears’ programme, artist Harry Sanderson‘s Unified Fabric exposes the violence of the digital image. Based around his 2013 essay, ‘Human Resolution’ published in Mute Magazine in April this year, he explores the labour required to produce the technology that generates immaterial art and our complicity in perpetuating these exploitative working conditions in a globalised, post-Fordist economic context.

The exhibition is an extension on Sanderson’s ideas in ‘Human Resolutions’, as well as last month’s Mining the Object panel discussion, and sees Sanderson construct his own render farm -a high powered super-computer typically used for rendering animation film -to be exhibited with work by Hito Steyerl, Clunie Reid, Melika Ngombe Kolongo & Daniella Russo, Maja Cule and Takeshi Shiomitsu, as well as writing by Eleanor Weber and Michael Runyan.

For this interview we joined Sanderson, along with Arcadia Missa founders Rozsa Farkas and Tom Clark, in Farkas’ bedroom to talk about the Unified Fabric exhibition, opening October 15, along with the violence of the image, art-as-political and extending discourse beyond their own four walls. **

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