Douglasism boook online order

[도서] Douglasism (lajka 8)

저자 킴킴 갤러리 | 출판사 워크룸 프레스

정가 : 17,000원 Published by workroom press Sep. 2015 Seoul

http://www.kyobobook.co.kr/product/detailViewKor.laf?ejkGb=KOR&mallGb=KOR&barcode=9788994207582&orderClick=LAG&Kc=

http://www.aladin.co.kr/shop/wproduct.aspx?ItemId=67219080

http://www.yes24.com/24/goods/20634255?scode=032&OzSrank=1

Douglas Park's archive of London 1990's Art Ephemera

 

From the bunker archive No. 2
@ Barbican Bunker 
publication and project by Douglas Park with Arnaud Desjardin
Dec. 2018
London
https://www.facebook.com/photo.php?fbid=10215455621438585&set=a.1307227235645&type=3&theater

Michael Dans – When the Water Clouded Over

 Textes : Jean-Michel Botquin et Douglas Park.

23x34 cm, 96 pages couleurs
Couverture cartonnée + embossage + jaquette en couleurs
Fr/En/Nl
décembre 2018

Jan. 2018
Antwerp
https://www.facebook.com/photo.php?fbid=10215562477429918&set=pcb.10215562478789952&type=3&theater
http://www.editionsducaid.com/produit/michael-dans-when-the-water-clouded-over/?fbclid=IwAR0XzxKVMjyd3Sn2D_x8WIFJf9VYWSae4b-yCpX3y222upxPxuAGtYpIyJs

Douglasism logbook 2013-2019 cover design

 

Sep. 2013

Sep. 2019

Seojong

Douglasism Book in Antwerp

 

https://www.instagram.com/p/B6bIpEdARlt/
Dec. 2019

A Parcel from Douglas Park

 

Aug. 2011
Paldang

Douglasism book @ ARTISTS PRINT 2016

ARTISTS PRINT 2016 @ BRASS - Centre Culturel de Forest, Brussels

presented by Komplot

Sep. 2016

https://www.facebook.com/photo.php?fbid=10154655724255209&set=a.10153012964745209.1073741826.522495208&type=3&theater

더글라시즘 Douglasism

더글라시즘 Douglasism

킴킴 갤러리 지음, 워크룸 디자인 | 워크룸 프레스, 1만 7000원
그레고리 마스와 김나영이 설립한 비영리 조직 킴킴 갤러리는 2013년 서울에서 열린‘더글러시즘 페스티벌’에 관한 기록을 바탕으로 영국 작가 더글러스 파크(DouglasPark)가 지난 20년간 펼쳐온 활동을 다양한 층위에서 살폈다. 비평가, 전시 기획자로 활동하는 더글러스 파크의 작업에 대해 읽다 보면 현재 런던 예술계를 한눈에 조망할 수 있을 것이다. 

http://mdesign.designhouse.co.kr/news/newbook_view/101?per_page=5&sch_txt=

Douglas Park Greatest hits

https://www.facebook.com/photo.php?fbid=1141979245846955&set=p.1141979245846955&type=3&theater
Dec. 2015

Good Times

published by Komplot
Nov. 2015
Brussel

Douglasism Book Launch: seen by Martin Sexton & others

Strange preternatural events from Douglas Park and his book/cd exhibition 'Douglasism' this eve - first I see Rut Blees Luxemburg looking beautiful and exactly the same as she did 17 years ago when this photo was taken at the Foundry - as Douglas says of their relationship: 'a match made at swan vesta' then almost simultaneously a community refuse bin catches fire in the large estate as Douglas and I exit..Rut is nowhere to be seen - but not before I gaze both with fondness and longing at the book pages recording the event: 'The Gallery Has Been Completely Vandalised' from Douglas's particular performance, making the evening at the Alfred Camp Gallery in 2000, but then I see Bob AndRoberta Smith pulling the shutters down as if for a lock-in and I am excitedly thinking of re-run..but I am rewarded by the bin fire at least..then finally Douglas reads on the street only for Paul Sakoilsky to have both his drinks inexplicably auto-destruct in front of us..'must be psychic forces' he mutters..special evening with that old Douglas Park magic.

Oct. 2015
London
photos via facebook by Martin Sexton, Paul Sakolisky, Calum F. Kerr & Keef Winter
https://www.facebook.com/photo.php?fbid=10207989047748115&set=pcb.10207989050548185&type=3&theater
https://www.facebook.com/photo.php?fbid=10154073573731165&set=a.10153030317156165.1073741851.725701164&type=3&theater
https://www.facebook.com/photo.php?fbid=10153185982131463&set=p.10153185982131463&type=3&theater
https://www.facebook.com/photo.php?fbid=776594762467610&set=a.315105718616519.1073741825.100003512793919&type=3&theater

Mr. Park's Holiday @ TRUST

Documentary by Cel Crabeels with Douglas Park

Filmed in Korea during "Douglasism Festival 2013", Seoul

 Sep. 2015
Copenhagen

Douglasism Book Cover design draft

workroom press
Seoul
Mar. 2015

LA VOIX DE DOUGLAS PARK

Douglas Park, Greatest Hits, CD audio, Kim Kim Gallery, Séoul, 2013.

Pour beaucoup de français, l’art contemporain à Londres doit encore se réduire au noms les plus connus des Young British Artists, qui depuis l’exposition Freeze il y a bientôt trente ans se sont évertués à imprimer des images simples et puissantes dans l’esprit du plus grand nombre. Il faut garder à l’esprit que tout ce beau monde a aujourd’hui la bonne cinquantaine. Mais il a existé dès la fin des années 90 à Londres une scène alternative qui prise toutes les formes que les YBAs, devenus autant de vaches et de requins raides dans le formol, surlégitimés par l’institution et le marché, soucieux de vendre au prix fort, ont boudées : performances et événements divers, collaborations plus ou moins improvisées, éditions, le tout dans une ambiance anti-professionnelle de Cabaret Voltaire. The Stuckists, le collectif Decima (dont Douglas Park a été particulièrement proche) : quelques noms d’une population grouillante pour laquelle l’interaction sociale, les occasions de se retrouver, l’imprévu dans son immédiateté font partie de l’art lui-même.

Dans les années 70, Robert Barry a conçu des sound pieces dans la droite ligne de sa recherche conceptualiste : sa voix enregistrée prononçait des mots renvoyant à des notions abstraites comme « espace » ou « temps » dans l’espace de la galerie ; ce sont ces éléments et les associations d’idées des auditeurs qui constituait la réalité de l’oeuvre, pour ainsi dire au niveau neuronal. Ce que semble faire Douglas Park par le spoken word, sans accompagnement sonore, c’est d’élargir le champ ouvert par Robert Barry en ne se limitant pas à un mot, mais à des descriptions de processus abstraits rendant compte de manière plus ou moins distendue de la complexe réalité contemporaine, de ses mécanismes tacites, non explicites, voire cachés. Ces topiques mises en voix provoque immanquablement des projections mentales, des digressions de la pensée, de manière d’autant plus efficace que Douglas Park s’insinue dans l’espace intime par un compact disc écoutable sur la chaîne hi-fi du salon. Un bon matériel d’écoute est d’ailleurs conseillé pour apprécier un grain de voix nécessairement particulier et un remarquable travail d’élocution, qu’on imagine inspiré par ces voix désincarnées qui disent les annonces dans les gares. Le ton est celui d’un exposé avec un « je ne sais quoi » en plus résidant dans un rythme extrêmement maîtrisé, excluant tout effet émotionnel, comique, dramatique ; il est didactique sans l’être tout à fait, propre à nous convaincre tout en nous perdant dans les méandres d’une imagination résolument ancrée dans la contemporanéité.

Yann Ricordel

April 2015
Paris
http://inferno-magazine.com/2015/04/15/la-voix-de-douglas-park/

'Dream-Solution Questionnaire', 'A Pœm A Day', anthology / calendar

edited by Bruno Devos, Nico Dockx & Clara Meister, Curious / Stockmans Kalenders bvba, Antwerpen, Mu.ZEE Ostend, 2014 Design ©, Copyright, Jean-Michel Meyers

Dream-Solution Questionnaire

Attempt to establish, 1st, (acknowledging mutual similarities with this reality — partly due to 2-way influence between the factors involved): if any geographical space and time-zone occupied by states of dream, fantasy, hallucination, idea, imagination, memory, nightmare, prophecy, reminiscence, reverie, thought, vision and whim etc is approximately estimatable — or positively located; then, is actual access, entrance and occupation possible; which material substances and energy forces do they consist of; what production-means are behind them; can measurements be made, recording size, weight and volume, with readings taken of scientific properties; does their existence extend beyond manifestation within conscious experiences, e.g. maybe already being up and running or ongoing before accepted beginning (such as through falling asleep) even starts, perhaps, continuing after apparent exit (for instance, upon waking up) finishes off, potentially, having constant, non-stop endlessness; would separate events happen, during the same occasion, but oblivious to perception, away from reach, without physically appearing, obviously or not, instead, occurring somewhere else apart; are some or all such places, leading or connected to others; will people, known or strangers to each other, be able to go to meet and interact over there, whether on a deliberate or involuntary basis; finally, could discoveries like these ever get found out, harnessed and put into practice, including, how to modify extant — and create new ones?…. 

©, Copyright, Douglas Park

https://www.facebook.com/photo.php?fbid=836317749769222&set=a.104795376254800.7231.100001730141045&type=1&theater

NEON GRAFFITI / SHADOW CAMOUFLAGE + Explanation / Apology / Excuse / Attempt

NEON GRAFFITI / SHADOW CAMOUFLAGE + Explanation / Apology / Excuse / Attempt

Destination discovers voyager. Travelator pavement delivers upright paralytic cadaver. Wrong-turning side-street and behind-the-scenes backroom gaping jaws beckon. Entire body and newfound territory pound out slow heavy deep bass pulsing beats, in tempo together, gaining ever intensifying momentum. Contagious radioactive infection of innermost thought, wish, whim and freewill-power, spills straight out from the head to visit and tour the world, while the world penetratingly invades and swims inside the head. Upon contact, the solidly fossilised pitch-black nightfall toxic-hazard coalfaces in this neighbourhood shall surely burn, sting, stain, soil, bruise and cut the person; although, obligingly enough, lurid flashing blood rose sunset and dingy fog-blanket smokestack supply shock-absorbent guidance. 

Asleep, dreaming, worn-out, boarded-up window, fly-poster hoardings reawaken into technicolour flower, butterfly, jewellery, dragon, shooting-star firework-display fountains, e.g. kitsch glam’ camp chic look made of rough, dirty, crude, derelict and barbaric customisation, interior décor, cosmetics, ornament, packaging, gloss, commodity and promotional material — in a state of refined, precious, delicate, fragile and contemplative vandalism, defacing, waste, decay, damage and deterioration. 

Glimpsed arrival, lingering and departure of somehow almost familiar, recognised and well-known, yet unplaceable total strangers, reveals silhouette motif low-profile mugshot icon portraiture sitters’ casting-couch screen-test audition for body-count i.d-parade catwalk roles in bacchanalian orgiastic mass carnage inferno. These hovering phantom spectres, haunt and patrol, incognito, wearing finery of armour-plated fancy-dress-party costume disguises of mournful sackcloth-and-ashes hood, cowl, visor, shawl, sari, cloak, drape, veil, shroud and gown — with festive war-paint carnival masks. 

Time after time, again and again, 2 distinct, recurring figures attract and hold attention: the 1st one, prominent, bold, visible and actively posturing in the limelight, follows and even forges time-honoured roads, earning respect — and envy; then, a 2nd, far more solitary, seen to lurk, creep, duck, dodge, hide and run behind corners, away from view, enacting unclear conduct, deserves utmost contempt — but also fascination. Both personages find and make up all the rules, aim, score — and the actual game itself accordingly, whilst bulldozing their merry ways along on the job; sometimes, at certain stages, through mutual common-denominator go-betweens, they meet, cross, converge, overlap and intertwine paths with each other and brush shoulders. 

Sporadic and ongoing, sudden, instant, gradual and emerging broken-off outbursts and sustained announcements of free-verse consciousness-stream prose, given out in a vernacular colloquial dialect slang terminology jargon, conveniently provide the following 5 helpful services: A.) faltering overdubbed voiceover, soundtrack, subtitles, interpretation, dialogue, script and running commentary; B.) local pirate radio station broadcast and reception to, from, against, around and throughout vicinity, persistent despite interference, background noise, signal distortion, atmospherics and disturbance; C.) estranged chatline ansafone comparison and swapping of mismatched and incomplete memo-pad note telegrams in stereophonic soliloquy monologue conversation; D.) ectoplasm and poltergeist teams whom scrawl, mutter, exclaim, pour, unravel, expose, smudge, erase and scour out desperate and urgent confessional diary entries, which alarm and reassure, warn and boast to all-and-sundry about this, that and the other; E.) spreading vague suspicions and wild rumours as to what might be original authorship and source, intended purpose, meaning, subject, target and consequence of such secret message publicity propaganda campaign evangelism. 

Explanation / Apology / Excuse / Attempt

Originally generated in 2001, as an invited reaction to Trix Stephenson’s Wonderground solo exhibition at A & D Gallery, London. Sadly, there was never any outlet for usage or exposure, due to Trix Stephenson 1st changing his work in favour of other directions, then any and all such activity of his hitting a hiatus due to other commitments and ventures. 

Around that time, Trix Stephenson was more than just some other worthy and exciting new arrival on the block and scene. Much interest and support followed for awhile. His energetic and raw but deep and serious work used scavenged paint and graphic materials for mark-making, not just being applied onto found host support surfaces. 

This output split into 3 distinct but connected facets or personæ. The star (or decoy?) “Larry Large”, mostly involved in the adult-entertainment industry, ruthlessly ambitious or even already successful, hellbent on fame, money and possibly also power and influence (the works included many references to advertising, fashion, brandnames and consumerism); unusually for such concerns and subject-matter, complex and even cumbersome, yet still effective. The more marginalised and secretive, “Raymond Lee Chandler”, a misanthropic serial-killer, with much misplaced drive and planning behind their campaign (or mission), the paintings appearing like umpteenth rate (but nonetheless powerful, believable and insight-infested) brutalist toilet walls, with graffiti, stains and paintwork to match (surprisingly, sophisticated and mysterious, for all the directness and crudity). Less specified or defined, “Bobbie Delicious”, a female character, somehow having dealings with both “Larry Large” and “Raymond Lee Chandler”, not so prolific as the other 2; mostly represented by waist-upward humanoid figures, with gloved hands coming from the genital area; the few or only 3d works by Trix Stephenson were soft sculptures based on this motif. 

A common-thread running throughout, was genuine exploration of the affinities and linkage between such behaviour, then to what extent they’re caused by and contribute to society, as well as public attitudes and perception towards them — including the extent to which we are all susceptible and implicated. 

Circumstances surrounding ‘Neon Graffiti / Shadow Camouflage’ influentially entered the end-result and outcome. It had been on the cards to visit the show as promised. The day that happened began when I awoke to find myself in the toilets of the Royal Academy of Arts Schools, following an art award private view the night before. After explanation to good-humoured and sympathetic Royal Academy of Arts Schools staff, my 1st port of call was the Seeing Round Corners mini-retrospective of the (since lating-greating) sculptor, Barry Flanagan, at Waddington’s in Cork Street. While there, the phone rang. It was Trix, wondering if I was around, free and up for checking out Wonderground that day, because he’d be at the A & D Gallery then. Having nothing else to do meant I’d may as well go, so offer taken up and accepted. This meant making my way from Mayfair to Chiltern Street (in and near Baker Street / Marylebone / Bayswater / Portland Street / Regent’s Park), where A & D Gallery still gœs strong to this very day; o.k, so nothing difficult, unpleasant, unique or special otherwise, but journey, environment and experience became self-consciously aware-of, adding to pre-existent knowledge and expectations of what lay waiting. The only remembered visit along the way was Cornelia Grassi’s Greengrassi gallery, in those days based in Fitzroy Street, Fitzrovia (off Warren Street and Euston Road). 

Not too much later, getting to A & D Gallery, meeting Trix again, seeing work, similar to and the same as what I’d already heard about and seen before and further discussions (with all that entailed and brought), all joined forces together, alongside every other external factor entering equation. Even more than usual for me, it became inevitable to play around with readymade (or even sometimes from-bad-to-worse) clichés of imagery conveyed, phrasing and embodiment, then how overall impression would be pulled off and come across. Doing my utmost to capture, save, preserve, emphasise and reinforce that which was then and still is so real and credible, to the best of my ability possible, hopefully without corruption or weakening of it. 

©, Copyright, Douglas Park 

Online at http://www.slashseconds.com, curated by Graham Horton & Peter Lewis, Redux Projects, London / Leeds Metropolitan University, Leeds, 2011 

http://e-flux.com/aup/project/neon-graffiti-shadow-camouflage-explanation-apology-excuse-attempt/

Prelude: Douglasism Book

I 1st met Douglas Park in 2006, at AIR, in the former lock-keeper´s house of the harbor of Antwerp, where Nayoungim and I were granted a studio for a season.  A rather gothic building, in a post or actively industrial location, on the border between the old and new harbor, next to a still working and busy watergate.  Later on, Douglas described the location, atmosphere and experience in retrospect as being “a dreamlike, but real and credible environment, seemingly middle-of-nowhere, whilst very much next door to the main city. A place I already knew well, having stayed there several times since the early 00's, during renovation and building work.”  DP stayed in a sparsely furnished room on the upper floor.

The first conversation I remember with DP was an inquiry about his daily diet, due to concern and curiosity about his rather slender physique.  He smilingly lifted his index finger and answered in his melodious baritone voice rising to crescendo, “I only drink and do not eat and will finish by slipping through the cracks in the floor…”  Not for the last time, I was surprised by the pedantic and precise manner of speaking, intermingled with inventive wordplay, which is so common to him.  To my delight he did not tire to repeat this statement very voluntarily as soon as he lay eyes on me over the following few weeks.  Even though I caught him a few times preparing solid food.

Since early on, DP had an insatiable interest in art and art history.  Whoever converses with him for more than a few moments might experience that DP´s memory is inexorable if triggered and totally recalls some of his arcane historical fact.  For example: the not so well known at all, maybe no longer existing, just undisclosed, or simply rotting away, in some classified folder, still falling under the seal of official secrecy, but soon hopefully to be published, and realized project, which Robert Filliou claimed to have or is said by some to have undertaken during his time spent working for the UN Reconstruction Department in Seoul, in the 1950s.  Perhaps, we might never know.

Despite known influences, the idiosyncratic amalgam of Park´s work spans from  journalism to poetry, from art criticism to curation, from essays to acting, and to an abundance of recitals, which he reduces down into a summarized definition or downright stub, whilst also entered into and recorded as an ever-updated and growing, already extensive and multi-categorical biobibliography.

In order to get an impression of the consistency of DP´s work, I am careful to quote Clemens Krümmel analyzing DP´s recital form as follows: “The paratactic approach that he uses when he reads out, to not only expand into the notional and phatic spaces that speech offers, but also to line up words, the sound, their facture, their texture, like pearls on a shaky string - in TIME. I claim that it is a meaningful component of his mastery to make words sound like something extremely equivocal and even fishy. It always remains a speaking act, not in an emphatic sense (in which articulate speech always only appears as a tool of empowerment of a subject), but rather in the sense of speech as a tool of caution. By taking out, or leaving out, most syntagmatic grammatical elements that usually regulate the economy of power in spoken and written language, especially in Western languages, by avoiding larger sentence and sub-sentence constructions, he carves out of language what really makes it tick, what really gives it its power over people: the incredible situational power of the continuously moving and elusive present, the ungraspable present tense of time-space.”

More often than not, considered strange or at least a defiant, mysterious and wildly eccentric personage, by his less unforgiving contemporaries; he is an artist and figure to be considered in the historic line of the tradition of a James Ensor, William Blake or even an Aleister Crowley (but without the latter’s character and actions, of course).  Eccentricity is often associated with genius, intellectual giftedness, or creativity.  People may perceive DP's eccentricity as the outward expression of his unique intelligence or creative impulse.  In this vein, some of DP´s habits are incomprehensible, not because they are illogical or the result of irrationality, but because they stem from a mind so original that it cannot conform or be confined to societal norms. During a light lunch on the first day in Seoul after the shooting of the documentary “Mr. Park D.” on Jeju Island he described his frame of mind as such: “Usually, when I am staying somewhere strange to me and something is about to happen like a meeting or a project or a journey, I keep falling in and out of sleep and dreams; and reality and the immediate environment sort of becomes what I call “reality-warps”; they sort of cut-up and exchange and there is much interplay and hybrid between them.” 

The following book attempts to show and honor the wide range of DP´s creativity, transferring how it was presented as an “Itemized Miasma”, during the ‘Douglasism’ Festival, in Seoul, in 2013.

The term “Douglasism” derives from an event called “Douglasisms” which commemorated the 33rd birthday of DP, and was initiated by the London-based collective, Decima, with an artwork of DP by the late Piers Wardle (aka: Lewis Draper) at the Gallery Upstairs in London in 2005.

Kim Kim Gallery appropriated this “great” title to embrace the totality of DPs work, collaborations with DP and DP related work and material.

Special thanks go to Rut Blees Luxemburg, Keef Winter and Tom Fox for producing the ‘Greatest Hits’ CD, of works, chosen and recited by DP himself, which may be found in the back of this book you are holding now, as well as to Cel Crabeels, who realized a documentary about and with DP, however improbable the outcome and against all odds, following DP´s every step through the tropical island of Jeju, from public recital and autographing at tourist-trap waterfalls, then on-set shooting sessions, to a smoky motel room delirium climactic rant.  Special thanks go to Sonia Dermience from Komplot, Brussels, and writer/curator Damien Airault from Paris, for all their active support and personal involvement; all those who contributed to this show, such as collaborators, galleries, collectors; the people from Workroom Press, who all made this publication possible; then, finally, of course, last but by no means least, Douglas Park, himself.

Gregory Maass

2014

 (excerpt from “Speech is matter.” a video lecture by Clemens Krümmel)

 (DP in “Mr. Park D.”)

OEI # 53-54/2011 Dokument, Dispositiv, Deskription, Diskurs

Institution of Rot
https://www.facebook.com/photo.php?fbid=10150599698230345&set=oa.10150677524575240&type=1&theater

Douglasism @ Kim Kim Gallery website

Jan. 2014
Paldang

http://www.kimkimgallery.com/artists/index.html