This issue is a collaboration between curator and writer Raimundas Malašauskas, fashion and theater costume designer Sandra Straukaitė, and artist Elena Narbutaitė. All three were born in Vilnius, Lithuania.
The issue is made from printed cotton fabric which was produced using images taken from a journal Raimundas Malašauskas dropped into water and gave to Elena Narbutaitė. The fabric was then sewn into a collar designed by Sandra Straukaitė. The object itself is the result of a conversation between these three. It is intended to be worn.
Included with the issue is an accounting of some of the conversations that went into the production of the collar, these conversations will both shed light on and complicate your understanding of it.
Wherein Elena writes to Raimundas:
This pattern is made from fragments of your water-soaked notebook which Victoria handed off to me. Later on, a line of cloudy sky taken from a photograph of Sandra was added. There is a slightly plummy color in the background of the squares, which serves to brighten it up. That plum color had to be very subtle, almost invisible. Only when you put a true white next to it, do you discover that it is not white. Since the fabric was missing a background, a second color - a bluish one - was added, a kind of color of sleep, but a much warmer one. All these colors were in your water-soaked notebook. The blue and purple ink had diffused in spots, and a rose color emerged from somewhere. And the paper itself was yellow, sometimes dusty and dry. Because I thought that the notebook was dropped into a puddle in Taiwan, I thought of the sky colors in the film The Hole by Tsai Ming-liang.
Wherein Sandra responds to Elena:
I find the line of the sky a bit weird - it may look like a defect, unless it goes below. Also it looks much darker, maybe it is better without it?
Wherein Raimundas and Malak Helmy discuss "Nom er Piat":
Malak Helmy (MH): Nomer Piat sounds like a person who reconstructs his name regularly, as in your collaborating agent in disappearances and reappearances on the lexical (and other) planes.
Raimundas Malašauskas (RM): What does Nom er Piat do after disembarking the plane?
MH: Turns left and goes under the plane. He runs into some manhole next to the wheels. She is wearing a big coat. Regular beige. Except the inside is lined with a crispy cellophane-like red material. You wonder why Nomer Piat would wear such a thing, seeing as it’s such a conspicuous lining for doing things like running under planes. But maybe there is a purpose for it that we are not aware of.
RM: What could be the purpose that makes us unaware of it?
MH: We will find out later in the story. When did you first meet NP? Or did he go by another name then? How old was he?
RM: How old were you?
MH: I was nine but I was tall. I had long arms that reached down to my knees and a long midsection. My hair was long also, a light auburn blonde. I washed my hair with body shop products. My nose was also long, but in another direction. It was a very sensual device, which I could calmly parade in public. My calm would unsettle others at times. Although I’d say I took to the enjoyment of sneezing. It was like a laugh by which I could let my soul explode out of my nostrils.
RM: Did you sense the smell link between Mezcal and Savon Noir?
MH: What is Savon Noir?
RM: Black soap.
MH: What are its (beneficial) properties?
RM: Erasing dry skin.
MH: He'd gnaw on it with his hind teeth until it stuck between his molars like liquorice. When he'd do this his entire voracious appetite for ingestion would get piqued. He said, “Tomorrow I think I’ll wear my coat round the other way.”
RM: The red celluloid coat?
- RAIMUNDAS MALAŠAUSKAS
B (for bacteria/biography) can tell you how many buildings its been in, how many bars its bored. But it would be nothing to you without their inveterate companion species, Raimundas Malasauskas-- a transnational, corn-filled, diasporic hyper object who is in turn a companion to and accompanied by other kinds of turning objects, often engaging in unintended dervish-like dances. Through times they have left many dizzy, some in awe and most physically disgusted. This might be due to their current manifestation which is slightly gelatinous but soft at touch, a horse nose.Selected recent and upcoming projects:Liverpool Biennial 2016, participant of the curatorial faculty;Tomorrow night I walked to a dark black star, Universidad Di Tella, Buenos Aires, 2014;
Oo, Lithuanian and Cyprus pavilions in the 55th Venice Biennale, 2013
Fusiform Gyrus, Lisson Gallery, London, 2013
Weather Permitting, 9th Mercosul Biennale, Porto Alegre, 2013
d(OCUMENTA) 13, Kassel, 2012;
Repetition Island, Centre Pompidou, Paris, 2010
Satellite Series 4, Jeu de Paume Museum, Paris, 2010 − 2011
Into the Belly of a Dove, Museo Rufino Tamayo, Mexico City, 2010
CAC TV, CAC Vilnius 2004 − 2007
BMW (Black Market Worlds), IX Baltic Triennial, CAC Vilnius, 2005
Paper Exhibition, a book of Malašauskas' selected writings, was published by Sternberg Press: www.rai.lt
Other itineraries can be found at: www.rye.tw