Dimensions: 285 mm x 285 mm
Format: Hardback, 1st edition
Cover: Soft touch matt finished
Print run: 500 copies, hand numbered
Release date: Dec. 2, 2016
The book includes one hand numbered 10” vinyl from a limited edition pressing of 500 copies, whose tracks have been composed for / executed with a single guitar and recorded in one take during night, in the corridors of an empty building in Nowa Huta (Krakow, PL).
Side A: A morning session of Q & no A; Cornwall August 2012
Sibe B: I do not understand lakes; Tides / happiness / excess; Afternoon today
CHECK OUT is designed as an exhibition of verses, photography and sound.
It is divided into sections (chapters / tracks) and has three main granularities, i.e. excess, exposure, and death.
– Excess as an event of exceedance that stretches time and sight. Silence winning back space, clouds thickening. Cata- lysts of attention like objects underwater, recurring numbers or shapes – swaying branches, TV series charging a day with three hours too many. Excessive care or procrastination, high sense of alertness: “CHECK OUT, that is notable / happening”.
– Exposure like in Latin’s ex·ponere, “to pose oneself out”, implicitly meaning interruption, abandon: “CHECK OUT of here, get exposed”. A sudden moment of loneliness blurring thresholds with the surroundings. Lengthening shadows, darkness falling. Staying longer than a visit paid.
Allowing for things to happen to the exposed, exposure is handled by the project in connection to indulgence, acceptance (accept scratches, precipices), and
– death: “Amen, CHECK OUT”. It is possible to die of exposure, i.e. dying of not being in the own Place of Nature. One can die of excess, too, that is dying of augmented presence. And then possibly, there is a death of resilience or slowing up, which is a mournful one.
All along its sequence, CHECK OUT seeks to promote detachment, generate networks of meanings beyond a specific context: Narrow framing, tones overflowing. Nevertheless, these are still sounds and images, somehow highlighting existence.
But there are glitches, asymmetries if images and sounds are of people, which might be caught while stiffening already – watching the carousel from the outside – thus trimming them into frames beyond context can sometimes incur the paradox of capturing more of death than life happening.