the ‘suits’ archived, with an inventory for ten years of performativity

2016, 17 × 23.5 × 0.7 cm, 80 pages, cold glue bound, black and white/four colour offset,

the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
the ‘suits’ archived, with an inventory for ten years of performativity
Commentary

the ‘suits’ archived signals the conclusion of a project that began in 2007 when without any prior experience or technical advice, I made a suit from scratch to wear whenever representing myself as an artist. In 2009, marking the end of my studies in Leeds a replacement ‘suit’ was produced, and with the repetition of labour, the new iteration improved on the initial attempt and suggested a course for the rest of the project: the work would end once a suit was made that was indistinguishable from a professionally crafted example.

Following replacements made in 2011, 2013 and 2014, a suit was produced in 2016 that was indistinct from a professionally made example and the previous attempts were archived by textiles conservators from the University of Amsterdam. the ‘suits’ archived book is structured around reports and documentation produced by the conservators of the ‘suits’, added to which is an inventory of each time a ‘suit’ was worn, with the dates, location and purpose of each intervention, a trove of found images inadvertently capturing them and the contents of the ‘suits’ pockets from each wear.

Designed by Stéphanie Dondelinger, with a text by Laura van Grinsven (translated by Beverley Jackson) and a repurposed text piece by Robert Barry.

Available from 7.45 Books

writings

by Laura van Grinsven

exhibitions

Rijksakademie Open, Rijksakademie van beeldende kunsten, Amsterdam, NL

thanks

Rijksakademie van beeldende kunsten, Mondriaan Fonds, Stichting Stokroos, Stichting Hinderrust Fonds, Stéphanie Dondelinger, Antalis bv, Laura van Grinsven, Emmy de Groot, Marijke de Bruyne, Sjoukje Telleman, Bram van den Berg, Annelie Musters, Wytske Visser

Alex Farrar
Born 1986, Leeds
Lives and works in Amsterdam and London

news
☞ 9.7.20 – 19.7.20 [exhibition/commission] Walk&Talk, São Miguel, Azores
☞ 7 – 9.2.19 [art book fair] Moveable Types, w/The Kippenberger Challenge (7.45 books), Witte de With Center for Contemporary Art, Rotterdam
☞ 1.12.19 – 1.1.20 [solo exhibition] ‘Semblable Wood’, Kerstroosplein 32, Eindhoven
☞ 22 – 24.11.19 [art book fair] Printing Plant w/Rijksakademie, Looiersgracht 60, Amsterdam
☟ 28.9.19 [press] interview with Allan Gardner, published on The Quietus
old news
☜ 20.11.19 [book launch] ‘Wimper’, Page Not Found, The Hague
☜ 5.11.19 [visiting lecturer] Moscow Foundation (BHSAD), Moscow
☜ 27.9.19 – 26.10.19 [solo exhibition] ‘Faltering, light under two screw holes, with 999 Red, shadows, screws and drilled holes, flushed, then glimmer over pieces of masking tape, with screws, drilled holes and Cherry Bomb’, SE8 Gallery, London
✳︎ Supported by the Embassy of the Netherlands
⤷ private view on 27.9.19
⤷ finissage/book launch on 26.10.19
☜ 13.9.19 – 12.10.19 [solo exhibition] ‘Fall, slump, drop on a bedside cabinet in water with behavioural residue (painted violet) and collapse, slide, bottom-out beside low on a bookshelf, with sag on a folding table and slip on a bedside —both- in water, before behavioural residue (painted chartreuse), downswing under a broken curtain rail, and dip, crash, flat on a chest of drawers partially in water’, Bloc Projects, Sheffield
⤷ private view 13.9.19
⤷ in conversation on 2.10.19
⤷ [press] Our Favourite Places, this is tomorrow, Corridor8
☜ 5.7.19 - 21.7.19 [residency] Walk&Talk, São Miguel, Azores
☜ 1.5.17 – 1.5.19 [award/grant] For two years my work is generously supported by a grant for established artists from the Mondriaan Fund
☜ 15.2.19 – 31.3.19 [solo exhibition] ‘Ecstatic, darkling with lofty, fumble/ Reverie, angst, bumble and grumble/ Lucid, limned with Rubin’s cornice and fifteen-odd semblable stumps’, Dürst Britt & Mayhew, The Hague
☜ 5.3.19 – 31.3.19 [group exhibition] Double Negative, @ChaShaMa, NYC, New York, curated by Darling Green
☜︎ 7.2.19 – 10.2.19 [solo presentation] Art Rotterdam w/Dürst Britt & Mayhew, Rotterdam
☜︎ 11.9.18 – 14.3.19 [guest artist-teacher] Fine Art Department, Royal Academy of Art, The Hague
☜︎ 25.8.18 – 28.10.18 [residency/duo exhibition] Being as Becoming, Onomatopee, Eindhoven, with Philippine Hoegen, curated by Freek Lomme
☜︎ 10.5.18 – 23.6.18 [group exhibition] ‘British Summer Time’, Copperfield, London with Larry Achiampong, Ewa Axelrad, Joe Fletcher Orr, Rowena Harris, Jasleen Kaur, littlewhitehead
PDFs
exhibitions (2015–2019)
works (2015–2019)
cv
Recent writings on my work
by David Price
by Nicolas de Oliveira and Nicola Oxley
by George Vasey
by Josh Plough
by Steven ten Thije
by Laura van Grinsven
email me
alex.farrar@hotmail.co.uk
instagram
@alexrfarrar
gallery
Dürst Britt & Mayhew
info@durstbrittmayhew.com
colophon
aaaeflrrrx.eu was built with the ingenuity and patience of DisplayHooray.
The typeface used throughout is Maria Pro, created by Phil Baber, whose 2010 design for the Index book reappears here in the work pages.
Credit also goes to Qubik for my original website (2010–2014), which lives on in the icon based home page.