constructions selenitsch fleishman qca exhibition 2017


Alex Selenitsch
Australia born Germany 1946

equals as concrete poetry.
From introduction, which quotes eekal by TT,O:
“By exploiting the aural materiality of a sign, this poem by π.o. offers an image of the relationship of the migrant to a host culture. Despite an unequal struggle with the way the word is said, the question at the end of the poem re-defines the struggle. In the same spirit, the following works exploit the graphic materiality of the word as a sign, and are images of the same re-defining question…”
The equal sign abounds through out. On some pages the signs appear to be really equal while on others they become unruly and challenge one another. The poem culminates in a black and white photograph of 26 turpentine blocks laid out across an area of land. We do not know their size but they look big. The blocks are placed in two parallel rows reflecting the equal sign but with disruptive blocks here and there. The last two blocks, however, form a perfect equal sign. = signs photocopied-enlarged and hand-cut-and-pasted. An ‘equals 99’ bookmark inserted. 21.5 x 21.5cm. Original cover hand-set and printed by John Ryrie. Editions of 26 (the alphabet: A to Z with five proofs marked a e i o u). This copy an over-run with a unique cover. Initialed AS and dated June 01.
The artist. Photographer Carl Warner.
Grahame, N (ed.) 2015, Une historie du livre d’artists australien, numero uno publications, grahame galleries + editions. p. 47 (illustrated p. 46).
Collection: Centre for the Artist Book, grahame galleries + editions

Peter Fleishman

Five loose blue sheets contained in a simple folded white cover with five hand drawings, rubber stamped name and address of the artist stamped twice and date Sept. 1977 reproduced on front. On each sheet are printed rectangles divided into two sections. The overall length of the combined sections is 15 x 2.2cm with each section measuring 7.5cm. On the first sheet the bottom section is further halved, so that we now have three sections. The third section is further halved from top to bottom and not through the middle. The placement of the sections alters on sheets 2, 3 and 4 and by sheet 5 the sections are the reverse of sheet 1 – the bottom section is now at the top and the top at the bottom. Edition unknown. The artist. Photographer Carl Warner.
Collection: Centre for the Artist Book, grahame galleries + editions