Leslie Thornton: Cut from Liquid to Snake 

Thursday 7th March, 2019, 8pm

Programme: Cut from Liquid to Snake (2018), 27min.; Binocular Menagerie (2014), 2:50min; Peggy and Fred in Hell: The Prologue (1985), 19min

Leslie Thornton's experimental film and video works combine archival material, texts, found footage and soundtracks to create complex image/sound interactions. Texts react to sounds and images in such a way that the syntax they create formulates its own critique – hypnotising, confusing and provocative.

From different perspectives, Peggy and Fred in Hell: The Prologue (1985) and Cut from Liquid to Snake (2018) draw on a dark, post-apocalyptic world and a feeling of anxious speculation. "It is an arbitrary world they live in, not a sensitive world, a horrible world, limiting, blind, stupid, arrogant, like any culture.“ (LT). One of Thornton’s most recent works, Cut from Liquid to Snake, is an uncanny psychedelia of the instability of the present moment. Binocular Menagerie (2014), is a reformatting of recordings of animals into kaleidoscopic abstraction; in which relations between predator and prey are translated into configurations of digital morphology.


Sam Porritt: British Television Comedy 1991-2001

Thursday 21st March, 2019, 8pm

The 90’s were golden years for British comedy. As Thatcher’s Conservatism stumbled to a close and Tony Blair’s Third Way ascended, a new generation of tv writers and performers found their voice – pitch black, sardonic, unthinkable today. Curiosly, this deviation in the national broadcast, which included shows like Brass Eye, Jam, Eurotrash and The Day Today, was keenly abetted by enablers at the BBC, ITV, Channel 4 and Channel 5. 

British-born, Zurich based artist Sam Porritt charts a period from Spitting Image to The Office to look at the genre's crowning achievements and the underlying reasons for its emergence.


Rosa Aiello

Thursday 28th March, 2019, 8pm


Programme: A River In It (2015), 9:40min; Temper (its my stereo it isnt yours you didnt pay for it) 2016), 18min; 27 seasons (2017), 8min

f you think of suspense (as a narrative device) as indeterminacy regarding the organizing principle, then might it operate in a similar way to what Katherine McKittrick calls the demonic? If architecture, the alphabet, seasons, syntax, gender and genre conventions cease to give sense, then do they pass into a kind of «nondeterministic schema»? Concerned with structures and principles governing the perception of spaces and of social relations within those spaces, Rosa Aiello’s video works perform a series of structural inversions, shifts, overlays, and repetitions, sometimes by means of computer generated imagery, sometimes by means of word games. In her videos, objects and spatial orientation are unstable parameters, which encourage a dependence on language’s and sound’s capacity to foster a multiplicity of association. What reveals itself in such an open-ended scheme is the arbitrariness of what is structurally given, as well as the processes of normalization that suggest such structures as natural or inevitable.


Tony Cokes, Dara Birnbaum, Branda Miller 

Wednesday 10th April, 2019, 8pm

Programme: Dara Birnbaum, Kiss The Girls: Make Them Cry (1979), 6:50 min; Remy/Grand Central: Trains and Boats and Planes (1980), 4:18 min; Tony Cokes: Black Celebration (1988), 17:11 min; Ad Vice (1999), 6:36 min; Face Value (2015), 14:05 min; Branda Miller, I Want Some Insecticide (1986), 3:53 min. Above: Tony Cokes, RRK: Reading Rosalind Krauss (2012), 04:55. 

Since the 1970s and 80s, Birnbaum, Cokes and Miller have dedicated their artistic work to the visual and auditory grammars that have dictated the terms and conditions of power, consumption, and cultural representation in the US. 

Decoupling word and sound from image, Tony Cokes (*1956) directs media’s overproduction of representation to a point of non-visibility. His videos often comprise found footage interspersed with appropriated texts, then overlaid with seemingly unrelated indie-rock, industrial, and generic pop. Displaced critical theory (generally perceived an idiosyncratic practice) and music (a collective practice) co-mingle as heterogeneous footnotes on the rhetorics of (racially inscribed) power; revealing a „culture of critique“ as all the while implicated in the processes of distribution of value which mediate that very power.

Dara Birnbaum’s (*1946) works are often based on fragments from game shows, sitcoms and crime dramas. They foreground TV's stereotypical gestures of power and submission, of self-presentation and concealment, of male and female ego.

Using video as an experimental and educational tool, Branda Miller (*1952) has worked with youth groups to create a series of multicultural, social-issue tapes in which the production process itself becomes the locus of critical engagement with media and media literacy. Her experimental film work incorporates archival footage, stop motion and collage that conjure sci-fi worlds run amok, among others.


Robert Glück, Steven Zultanski

Thursday 9th May, 2019, 8pm

"We were thinking about autobiography; by autobiography we meant daydreams, nightdreams, the act of writing, the relationship to the reader, the meeting of flesh and culture, the self as collaboration, the self as disintegration, the gaps, inconsistencies and distortions, the enjambments of power, family, history and language." - Robert Glück

Together with Bruce Boone and Steve Abbott, Robert Glück (*1947 in Cleveland, OH) founded «New Narrative», a literary movement in San Francisco that saw itself, at the end of the 1970s, in dialogue with Language Poetry and the autonomous poetry movements of the time. New Narrative encouraged self-reflexive voices, fluctuation between theory and fiction, and between autobiographical and conceptual writing, prefiguring a shift to contemporary autofiction. New Narrative writers include Kevin Killian, Dodie Bellamy, Camille Roy, and fellow travelers like Chris Kraus, Kathy Acker, Dennis Cooper, and Gary Indiana.  

Robert Glück served as director of the San Francisco State University Poetry Center and co-director of the Small Press Traffic Literary Center. He is the author of twelve books, including two novels, Margery Kempe (1994) and Jack the Modernist (1985), two books of stories, books of poetry including Reader (1989), In Commemoration of the Visit (with Kathleen Fraser, 2016) and Communal Nude: Collected Essays (2016). In 2019, Margery Kempe will be republished by New York Review of Books Classics. Robert lives “high on a hill” in San Francisco.


Steven Zultanski (*1981 in Trenton, NJ) is the author of several books of poetry including On the Literary Means of Representing the Powerful as Powerless (2018) and the trilogy Agony (2012), Bribery (2014), Honestly (2018). These three explore the boundaries of the subjective or confessional lyrical ego; the limitations of economic and psychological conditions on dialogue and the spaces where autobiographical writing is directed against itself – where self-elevation becomes self-eradication. His critical writings have appeared in Art in America, Frieze, the Los Angeles Review of Books, and Mousse Magazine. Steven lives and works in Copenhagen.

Reading (DE)

Barbi Marković, Lydia Haider

Friday 19th April, 2019, 8pm

Barbi Marković : Superziehsel und Traube, 2020

In Barbi Marković's Izlaženje (Going Out), the narrative structure of Thomas Bernhard's Gehen ("Walking") is lifted and modified so that three old men living in Vienna become three young women living in Belgrade, going out against the intolerability of going out. Izlazenje was translated into German by Mascha Dabić in 2009 and published by Suhrkamp as Ausgehen. Other titles by Barbi Marković include Graz, Alexanderplatz (Leykam-Verlag, 2012) and Superheldinnen (Residenz Verlag, 2016). 

Lydia Haider’s splatter novel Am Ball: Wider erbliche Schwachsinnigkeit offers a walk through of a night at the Viennese Akademiker Ball. Since 2013, the annual event has been organised by the right wing Freedom Party of Austria (FPÖ).  As a result, student fraternities like the 'Burschenschaften' have been able to gather in the Hofburg and literally waltz alongside international guests from the far-right scene, under police protection no less. The novel's seven chapters each correspond to a room in the Hofburg, where outrageous, gory scenes unfold. Lydia Haider is the author of books including Wahrlich fuck you du Sau, bist du komplett zugeschissen in deinem Leib drin oder: Zehrung Reiser Rosi (Ein Gesang, 2018) and Kongregation (Müry Salzmann, 2015).


Erik Thys & Harald Thys: Our Friend the Automobile

Friday 24th May, 2019, 8pm 


Departing with a picture of their father’s car, brothers Erik and Harald Thys present a psychoanalysis of the automobile – a mysterious, autonomous species that exerts significant influence on the people and object that surround it.

Harald Thys (*1965, BE) is an artist whose collaborative work with Jos de Gruyter takes an unvarnished look at the surreality of the postmodern psyche and its parallel worlds. Their works have been shown at institutions including Kunsthal Aarhus, DK (2018); Kunstverein München (2017); Schinkel Pavillon, Berlin (2016); Yale Union, Portland (2015); CCA Wattis, San Francisco (2015); MoMA PS1, New York (2015); The Power Station, Dallas (2015) and Kestnergesellschaft, Hannover (2011). Their installation Mondo Cane represents Belgium at the 58th Venice Biennale (2019).

Erik Thys (*1961, BE) is an author, composer, artist and psychiatrist affiliated with the Sint Alexius Psychosocial Centre in Brussels and the University Psychiatric Centre at the KU Leuven. Erik is the author of Psychogenocide. Psychiatry, Art and Mass Murder Under the Nazi‘s (2015) and co-author of The Secret of the Brain Chip: Guide for People with Psychosis (2003), which has been translated into 14 languages. He is also the chairman of KAOS, an institute that develops artistic projects with a link to psychiatry. Erik regularly collaborates with Jos de Gruyter & Harald Thys, composing music for and acting in several of their films. His compositions for organ have been performed in churches in San Francisco, Berlin, Vienna and Basel. His most recent work, Organ Piece (2019) – which adopts the form of an international anthem – was commissioned for Mondo Cane, the Belgian Pavilion at the 58th Venice Biennale, 2019.


Nicholas Tammens: The Art and Teaching of Jef Geys

Wednesday 30th October, 2019, 8pm

Jef Geys (1934–2018) lived and worked in Balen, a Flemish town in the De Kempen region of Northeast Belgium. Much of his work centres on this locale, reflecting the artist’s position in the area's environment, history, language and social relations—what he referred to as its ‘biotope’. Many of Geys’ projects begin at the site of his middle school classroom in rural Flanders. Giving evidence to a broader problematic between the term ‘education’ and what it designates, this lecture lines Geys’ practice with key educational precedents and artistic interlocutors: the Bauhaus model in Weimar, Nikolai Ladovsky’s teaching at the Soviet Vkhutemas, and the artistic practices of Marcel Broodthaers and Michael Asher, among others. Tammens is the curator of


LOL Beslutning: Destina & Destine

Saturday 9th November, 2019, 8:30pm

LOL Beslutning’s experimental approach to performance has seen repeated transformation. The same group that produced a slew of unpredictable pop albums as Synd og Skam have since turned to choral lectures, elaborate plays and ‘tutti-songs' in opera format. When performed, they come complete with the conviction and staging of an underfunded high school musical. Perhaps most popular is the ever evolving teen-drama Destina & Destine. Told from inside an SUV in a rained out carpark, its protagonists embark on a double helix journey: their paths entwining and unravelling as their friendship is tested by emo-emotions, duelling expectations and a mysterious double murder. The story continuously evolves. Ever-changing soliloquies, tangents, preludes and sequels alter the record while a metafictive subplot details the group's ongoing inner-journey writing, touring and performing the work. Destina & Destine was first performed in Switzerland at Kunsthalle Zürich in 2017. Two years on, LOL Beslutning return to release their first recording of the work, a 14 track LP, limited to 200 pressings, with a 40 page libretto featuring scores, commentaries and lyrics in German, English and Danish. Available for CHF 30 + post (intl. $15) by writing to

timpani .jpeg


Oliver Corino: We're Living in Complex Times

Thursday 12th March, 2020, 8pm


He paused in an attempt to process what was happening, but before he got anywhere he heard more shouting in the room, he looked up and a man was fighting his way towards him. “Is this the bucket for the penis amnesty?” the man shouted plainly, as if he was asking for directions. Before Tromba could respond the man threw something in the bin. He peered inside and on the ice was another severed penis, which sat there like a piece of seafood. 

Oliver Corino is a London based writer and runs the independent publishing house OCR

Sponsored Agricultural Seminar

Porpentine Charity Heartscape: Multi-Species Girl Ricecorn Grazing

Tuesday 28th July, 2020, 10am


For too long we have farmed ricecorn in sterile hypermodern isolation with a chrome sneer. We serve our children pathetic, microdick pellets, a pale shadow of the primordial chad-grain torpedos of the ancient ur-ricecorn which grew in the weirdbogs along the edges of the prebiotic soup.


"We risk an agricultural 9/11 if we don't act now."


All food was meant to grow in an ecosystem, not separated into its individual parts. We don't need pesticides, machinery, GMO, 5G, 6G, we just need the original G: Girl. Many girls roam feral through the generic countryside, and are blasted on sight by zealous farmers with elephant guns.


What if we return to the old ways? Create pockets of authentic nature wherein the girls shit in the paddies, eat the bugs, and flail idiotically: fertilizer, pesticide, and water oxygenation all in one.


Important tools:

-rewired tablet (it's gonna get cracked and muddy so get a cheapy from the flea market)

-Multi-stick (scraps of metal, rubber, duct tape as a skeleton for taser, caffeine canisters, whatever else you gotta plap onto it)

-mac n cheese jerky (high cal energy boost--"The Farmer's Friend")


Step 1: It's easy to take any ol tablet and wire the webcam so you can see girlescent particles (lavender = pain, sea green = lifeforce, fuchsia = radiation). Make sure their levels are good and chuck any high-rad girls back into the exo-hinterlands. Let em stew a bit!


Step 2: To get enough fertilizer you need girls with extra-long intestines. Ass-busting coils to bring glory to the nation. And to these girls we feed the top 5% most fibrous bugs in the world. Usually their grub form is best. Locusts are a good pick--turn famine into opportunity. Chitin is insoluble fiber, so in terms of girl species we favor Golden Eczemic Cali Girls which can process the chitin into soluble fiber.

NOTE: Don't get your waste products in the ricecorn paddy. This is a closed fecal environment. Of course you can't help if some random generic animal comes along but you need to make sure your modern civ-poisoned guts don't interfere. Keep your toilet on a separate line.


Step 3: The girls thrash around in the water, oxygenating it for primo ricecorn fertility. If they "ain't" thrashing enough, squirt a little (or a lot!!) liquid caffeine into the paddy.


Step 4: Be genuinely happy for the girls. Be genuinely happy for the ricecorn. Be genuinely happy for the water and the weeds. If you don't have good feeling toward the upward-lifting-beings of the world, give up being a farmer right now.


Step 5: Remember to eat a good breakfast. Eat your cereal specially nutritionally formulated with your own brew of fermented ricecorn bio-fuel.

Step 6: What do you do with the rest of your day?

The Gamestop ruin is a PC bang now. It has a long metal pole extending from the top so its height qualifies for anchor store subsidies. Look in the windows. They're playing leeg and pubguh. Be grateful for your freespirited farmer lifestyle.

Go two shops down and get a styrofoam container of 0.0001 dilute saffron ramen w/ "chkn" foam and a succussed rhubarb milkshake.


A sweeping landscape shot of the Baltic Greebled Arcology is projected across the face of the mountain. The town makes 0.1 a year from allowing this migration-ad.


Go to the clinic.

  1. Watch aquarium footage on the monitor. Most of those animals are dead now.

  2. Get your bat biological essence shot. This protects you from 90% modern diseases of civilization.

  3. Get some kind of pill liquid dust powder app thing that makes you feel like another human being touched you. "Fool's Oxytocin"


Back to the farm. Through tiles of mud and grass. You should have fallen asleep by now.


Arm the electric tripwires. Arm the high-pitched whistling devices. A loud night you cannot hear. If anyone comes near the farm a recording of a dog will play. Angry dog!!


You can do whatever you want as you fall asleep. You can use your tablet to read about anything in the world. There are so many places in the world. There are so many people. You can look at pictures of all of them.


Good night.


Lucie Pia: Cameron Rowland: 91020000, D37

Sunday 4th October, 2020, 6pm

Cameron Rowland’s artistic practice considers the legal foundations and material manifestations of racial inequality. His works confront systems of disenfranchisement and expropriation which, in their service to capital, continue to bind ‘universal’ rights of freedom and equality to a white citizenship.  Adopting the operations and processes of various industries (commercial, legal-economic, artistic), his exhibitions often trace a genealogy of racially conditioned juridical structures and their deployment by state institutions and private organisations. 


91020000, presented at Artist Space, New York in 2016, addressed forced labor within the US-prison-industrial complex. D37, at the Museum of Contemporary Art Los Angeles in 2018, concerned the financialisation of criminal prosecution via property seizures. Examining both, this lecture explores Rowland’s work as a direct confrontation with the mechanisms of self-preservation inherent to racialised capitalism and racialised property – mechanisms also maintained by the operations and processes of the art industry.


pamphlet written by the artist for the exhibition 91020000 at Artists Space, New York, 2016


pamphlet written by the artist  for the exhibition D37 at the Museum of Contemporary Art, Los Angeles, 2019