London Institute Chelsea Millbank Site, London, 2002
Douglas Park with Phyllis Kiehl and Tom Gidley,
London launch of 11 Volume number of Dr Clémentine Deliss' 'Metronome', London Arts Club, 2005
Metronome is an artists' and writers' organ founded in 1996 by Clémentine Deliss.
It acts as alternative art publishing, because it has not a fixed editorial team and a fixed location. Its activity started with the publication of a sort of a magazine and in 2005 Clémentine Deliss decided to build also an experimental publishing house called Metronome Press.
Metronome is a non-profit organisation, it is first of all an organ and a research methodology where artists, writers and curators collaborate to produce printed projects. Its first attempt is to work with fiction, mixing art and literature. For this reason professionals of aesthetic practice, such as the artist, the critic or the writer, overlap and change their role.
Fiction is a central component to all editions of Metronome, and in particular the latest productions with Metronome Press.
Metronome is more often compared to an artwork than a publication because it is both a collective artwork and a research methodology. Furthermore it cannot be considered an art magazine as such because it includes texts of fiction rather than criticism or theoretical texts written by art critics. As a critical alternative to conventional art publishing, Metronome generates new works by artists and writers with the intention of creating new circuits of art scenes in different locations. It aims to create a neighbourhood between artists and writers of all over the world, stimulating a discussion on the art backstage that cannot take place in the public space as an exhibition. For this reason it is conceived as a creative tangent to an exhibition and an instrument for research.
"I might have been inspired by Deliss's mode of bringing people around a table and create an of sincere interest for each other, hers was an emotionally bonding project." (Ursula Biemann, artist and curator)
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Metronome No.0 - Pilot Issue. Dakar, 1996
This is a pilot issue of Metronome printed in Senegal that set the production of all future issues.
It includes interviews with Catherine David and Paul Virilio, visual and text-based conversations between Dakar and London.
Artists & Writers: Autograph; Joshua Compston; Catherine David; Clémentine Deliss; Joy Gregory; Elizabeth Harney; Laboratoire Agit’Art; Rut Blees Luxemburg; Issa Samb; Penny Siopis; Djibril Sy; El Sy; Paul Virilio.
Metronome No.1 - London, 1997
Artists & Writers: Bili Bidjocka; Rut Blees Luxemburg; Guy Brett; Ery Camara; Andrew Cross; Clémentine Deliss; Tracey Emin; Carl Freedman; Tom Gidley;Edouard Glissant; Susan Hiller; Gary Hume; Jaki Irvine; Greg James; Atta Kwami; Zoe Leonard; Langlands & Bell; Fred Mann; Cathy de Monchaux; Michelle Naismith; Alistair Raphael; Issa Samb; Djibril Sy; Mark Aerial Waller.
Metronome No.2 - Berlin, 1997
Published on August 1997, for documenta X.
Artists & Writers: Franz Ackermann; Gamal Al-Ghitani; Andrea & Philippe; May Ayim; Sabeth Buchmann; Matthew Collings; Clémentine Deliss; Nina Fischer & Maroan El Sani; Durs Grünbein; Abdoulaye Guissé; Judith Hopf; Rebecca Horn; Johannes Kahrs; Ulrike Kuschel; Via Lewandowsky; Rémy Markowitsch; Carsten Nicolai; Olaf Nicolai; Mohamed Magani; Jakob Mattner; Wairimu Mwangi Thamaini; Frank Thiel; Anatoli Shuravlev; Julian Stallabrass; Annelies Strba; Mamadou Touré dit Béhan; Gavin Turk; Emmett Williams; Slavoj Zizek.
Metronome No.3 - Basel, 1998
Tempolabor, A libertine Laboratory ?
Artists & Writers: Rasna Bhushan; Ursula Biemann; Peter Brandlmayr; Clémentine Deliss; Marianne Eigenheer; Charles Esche; Ewa Esterhazy; Jean-Paul Felley; Izeta Gradevic; Eric Hattan; Rummana Hussain; Olivier Kaeser; Birgit Kempker; Jörg Lenzlinger; Renée Levi; Via Lewandowsky; Heinrich Lüber; Muda Mathis; Claudia & Julia Müller; Marianne Müller; Tim Neuger; Olaf Nicolai; Peter Pakesch; Dan Peterman; Maria & Michelangelo Pistoletto; Stephan Prina; Martin Prinzhorn; Progetto Arte; Tobias Rehberger; Leila Sadeghee; Issa Samb; Nicolaus Schafhausen; Andrew Shields; Kan-Si; Martina Siegwolf; Gerda Steiner; Reinhard Storz; Peter Suter; Wawrzyniec Tokarski; Annette Ungar; Cyril Verrier; Nebojsa Vilic; Sus Zwick.
Metronome No.4-5-6 - Edinburgh, Bordeaux, Frankfurt, Vienna, Biella, 1999
Artists & Writers: Unai Goieaskoetxea Arronategi; Axford, Dale, Löwenstein & Young; Miriam Bajtala; Yassine Balbzioui; Thomas Baumann; Thomas Bayrle; Stefan Beck; Lutz Braun; Ernst Caramelle; Hsia-Fei Chang; Sunah Choi; Arnaud Dejeammes; Clémentine Deliss; Jean-:Luc Desmond; P.K. Dick; John Douglas; Irene Düring; Steve Duval; Gardar Eide Einarsson; Ewa Einhorn; Charles Esche; Andreas Exner; Roman Fehr; Dirk Fleischmann; Parastou Forouhar; Sophie Fougy; Luca Frei; Hamish Fulton; Gerhard Geiger; Yann Géraud; Simon Girault; Marcus Graf & A.T. Kelemen; Tamara Grcic; Gerald Gerstenberger; Fritz Grohs; Steffi Hartel; Kathrin Höhne; Laura Horelli; Sergei Jensen; Alan Johnston; Franz Kapfer; Anne Kaminsky; Kan-Si; Phyllis Kiehl; Udo Koch; Peter Kogler; Kasper König; Timo Kopomaa; Suwan Laimanee; Elanit Leder; Marko Lehanka; Achim Lengerer; Kerstin Lichtblau; Karen Loughridge; Lyn Löwenstein; Fiona Macalister; Jan Machacek & Radostina Patulova; Pierre Molinier; Joshua Moon; Claudia & Julia Müller; Olaf Nicolai; Angelika Nollert; Christos Papoulias; Andrew Patrizio; Edith Payer; Manfred Peckl; Michael Pfrommer; Kiersten Pieroth; Lisa Pock; Stephan Potengowski; Alan Rankin; Anna Ray; Tobias Rehberger; Mandla Reuter; Michael S. Riedel; Tanja Ristovski; Monika Ruckstuhl; Nicole Schatt; Eva Schlegel; Christian C. Schweitzer; Thomas Seidemann; Anya Sheade; Constant Siméon-Reinhard; Sean Snyder; Andreas Spiegl; Wolfgang Stengel; Misha Stroj; Superflex; Markus Szikszay; Jean-Paul Thibeau; Armin B. Wagner; Mark Aerial Waller; Naomi West; Alexander Wolff; Ekrem Yalcindag; Haegue Yang.
Metronome No.7 - Oslo, Copenhagen, Stockholm, Bergen, Malmo, 2001
Designed by Liam Gillick
Artists & Writers: Norris Adoro; Kristoffer Akselbo; Guy Bar Amotz; Anonymous; Theodor Barth; Rikke Benborg; Johannes Bergmark; Bili Bidjocka; Greta Blok; Ina Blom; Karlotta Blöndal; Kaspar Bonnén; Liv Bugge; Maria Candéa; Benson Chiremba; Jacques Demarcq; Alexander García Düttmann; Ewa Einhorn; Annika Eriksson; Alma Erlich; Unn Fahlstrøm; Jo Torkjel Fenne; Luca Frei; William Furlong; Kendell Geers; Liam Gillick; Pierre Giquel; Raymond Hains; Lise Harlev; Molly Haslund; Gad Hollander; Saskia Holmkvist; Karl Holmqvist; Leif Holmstrand; Jun Iseyama; Frans Jacobi; Alan Johnston; Phyllis Kiehl; Björn Kjelltoft; Ferdinand Ahm Krag; Cees Krijnen; Pierre Leguillon; Oskar Lindvall; Håkon Liu; a Love Laboratory; Ingrid Luche; Bernard Marcadé; Bjarne Melgaard; Mary-Annick Morel; Simon Njami; Douglas Park; Rabia; Hans Hamid Rasmussen; Øyvind Renberg; Emil Røyrvik; Joanna Rytel; Thomas Saenger; Issa Samb;ManfreDu Schu; Åsa Sonjasdotter; Misha Stroj; Hiroshi Sunairi; Adam Szymczyk; Samon Takahashi; Jean-Paul Thibeau; Johan Tirén; Linn Cecilie Ulvin; Salomé Voegelin; Haegue Yang.
The Bastard / Magnetic Speech, anthology, edited by Dr Clementine Deliss, Metronome, London, 2001
The Bastard / Magnetic Speech, anthology, edited by Dr Clementine Deliss, Metronome, London, 2001
Metronome No.8A & 8B - London, 2002
Artists & Writers contributors: Michael Archer; Dave Beech; Rut Blees Luxemburg; Colin Cina; Neil Cummings; R. Nick Evans; Rose Finn-Kelcey; Ben Fitton; Anna Fasshauer; Kendell Geers; Babak Ghazi; Liam Gillick; Felicity Greenland; Alan Johnston; Annis Joslin; Stephen Klee; Langlands and Bell; John Latham; Douglas Park; Barbara Steveni; Gavin Turk; Hans Weigand; Cerith Wyn Evans.
Metronome No. 9 - Paris, 2005
Artists & Writers contributors: John Akomfrah & Edward George, Marc Atlas, Olivier Babin, Paul Baruch, Diamantis, Ewa Einhorn, Charles Henri Ford & Parker Tyler, Craig Garrett, Tom Gidley, Claire Guezengar, Judith Ickowicz, Phyllis Kiehl, Lefevre Jean Claude, Susannah Mabitt, Rev. Boyd MacDonald, Tom McCarthy, Bill Moan, Douglas Park, Abo Rasul, Nancy Strasbourg, Samon Takahashi, Boris Tiago, Oscar Tuazon, Bella Woodfield.
Metronome No.10 - Oregon, 2006
Special edition for documenta 12 magazines
Artists & Writers contributors: Ibon Aranberri, Nico Dockx, Didier Fiuza Faustino, Richard Fischbeck, Yona Friedman, Jan Mast, Christos Papoulias, Douglas Park, Michelangelo Pistoletto, Matthew Stadler, and members of Future Academy in Edinburgh, Bangalore, and Dakar.
Metronome No.11 - Tokyo, 2007
What is to be done? Tokyo
Artists & Writers contributors: Future Academy; Arts Initiative Tokyo; co-lab; Magnus Bärtås; Thomas Boutoux; Nico Dockx; Hu Fan; Boris Gobille; Yuko Hasegawa; Alan Johnston; Mami Kataoka; Roger McDonald; Masato Nakamura; Fumio Nanjo; Aomi Okabe; Tetsuya Ozaki; Yuko Ozawa; Christos Papoulias; Johannes Raether; Georg Schöllhammer; Stephanie Snyder; Matthew Stadler; Oscar Tuazon; Masahiro Wada; Takayuki Yamamoto and many others.
Douglas Park's Contributions
DETOUR IN THE ORTHODOXY
Andrew Gallix interviews Clémentine Deliss, 2005
3AM: I gather that Metronome was primarily an arts magazine. Why did you decide, after nine years, to launch into fiction with a new publishing house called Metronome Press?
London launch of Metronome Press at the Arts Club:
Tom McCarthy & Louise Stern
CD: Metronome has always worked with fiction. The very first issues included texts of fiction rather than criticism or theoretical texts written by art critics. The intention has been to create a detour in the orthodoxy of a person's work whether they are an artist, critic, or writer. There is no point in replicating the same identity that one carries as a professional within the context of Metronome. Metronome is there to create a short circuit between professionals working in different fields of aesthetic practice, and in many cases, in different urban locations (spanning Africa to Europe). The spark or trigger that awakens professional curiosity is potent when a moment of differentiation or otherness is recognised by the participating interlocutors (there can be no complacency with regard to the intersection of different theoretical discourses within art). So fiction in the context of contemporary art practice sets up a certain field of expression in contrast to the more standardised forms of writing we find in art magazines.Metronome is an organ, not an art magazine as such. To set up Metronome Press is to build on the ongoing interest in fiction and translation, nothing more. There is no exception to the rule.
3AM: Metronome Press is "dedicated to developing fiction and new styles of writing in relation to contemporary art practice". Why are you so interested in the art/writing interface? Is the distinction between the two worlds disappearing?
CD: I am interested in experiments related to interpretation. Metronome is an interpretational tool rather than a vehicle for the promotion of artists' works. Metronome Press has a similar attitude. It has not been set up within a literary field, but within the context of writing produced in relation to art production. Our challenge is the art world, and its discourse, not the literary world. We do not deny that visual artists can produce good literature, nor do we exclude the input of writers within our framework, but our main area of investigation is research and experimentation in art practice.
3AM: Three of the first four novels in the collection are by writers (Tom Gidley, Tom McCarthy and Phyllis Kiehl) who also have artistic activities. Are they primarily artists who write on the side, or is writing integral to their artistic vision? Did you encourage any of them to take up the pen for the first time, or were all three already writers as well as artists?
CD: Phyllis Kiehl and Tom Gidley are primarily visual artists. Both have written in the past, and have now produced novels. They were writers before I knew them. I had published Phyllis Kiehl's short stories in several earlier issues ofMetronome (4, 5, 6, 7), and Tom Gidley had written a lot for Frieze in the past. I knew that Gidley had withdrawn for a while in order to write a book, and so I contacted him when we set up Metronome Press to see if he was interested. Phyllis was working on Fat Mountain Scenes whilst she and I were living in Paris. By publishing Fat Mountain Scenes, she was able to place her novel within the art context prior to the literary world of publishing.
3AM: How did you come across Tom Gidley, Phyllis Kiehl and Tom McCarthy's works?
CD: As I said above, I knew Tom Gidley and Tom McCarthy had both finished novels and whilst I had not read them, I was curious to follow up the hunch that fiction within art practice might be the way forward. And Phyllis as I said earlier, was in the process of writing her first novel as we both moved to Paris. It all made sense and their inclusion in the first collection of fiction produced by Metronome Press is a sign that perhaps there is a further interest out there. We are keen to receive manuscripts, scenarios, novels, etc., from artists.
3AM: In the US, it is quite acceptable for writers to play music and do art (or vice versa), but not so much in Europe. Is this something that should be encouraged?
CD: It's always interesting to enter different territories. Today there is an important shift in the way we view art as an aesthetic field or set of practices, rather than as differentiated compartmentalised art productions (theatre/dance/visual arts/literature/film, etc). But you have to be lucid about whatever crossover you are ready to experiment with, and the context in which you are doing it. For Metronome Press to take on the airs of a literary publishing house in Paris, with all the history this city has, would be suicide! However, for us to work within art practice using fiction as a means of expression, and encouraging artists to experiment with other styles of communication, seems a logical step to take in today's world.
3AM: Do you see Metronome Press as a French, English or Anglo-French venture? It is based in Paris, but the first four novels are in English and one of your web addresses is a UK address...
3AM: You are republishing Charles Henri Ford and Parker Tyler's The Young and Evil which had originally been published by Obelisk Press in 1933. How did this come about?
CD: Metronome Press is based in Paris. It has no nationalist identity. It relates to those locations where we live (and that is necessarily subjective) and to those locations where we have worked.
CD: Thomas Boutoux and I loved the book. It is languid and tight at the same time. A perfect combination of erotic thinking and scenic or episodic action with a touch of historical information on the art scene of the early twentieth century. We were fortunate to be able to secure the rights and reprint an edition that is laid out exactly as the first edition was. There are cheap versions from other publishers, but the graphics that Charles Henri Ford had developed are rarely respected.
3AM: The latest issue of Metronome mixes fiction and erotica as a homage to Maurice Girodias' Olympia Press. Do you see Metronome Press as the heir of Olympia Press?
CD: Metronome Press is inspired by the system that Girodias had developed. If we could have a hotel too and a bar like Girodias we'd be happy! Let's hope, however, that we don't enjoy the multiple bankruptcies that characterised Girodias' professional career!
3AM: Do you think the Anglophone literary scene in Paris is about to enjoy a revival?
CD: I don't think that is the issue… Everyone and everywhere is Anglophone these days. But we do hope that Paris will open up even more to the international situation it has always nurtured.http://www.metronomepress.com/contrib/78910.html
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