Emma Kunz lived from 1892 to 1963 in the German-speaking part of Switzerland. In her lifetime she was recognized as a healer; she herself described herself as a researcher. Now she has acquired an international reputation through her artistic work. Even in her schooldays, Emma Kunz occupied herself with exceptional happenings. When she was 18 years old, she began to use her abilities of telepathy, prophecy and as a healer, and she began to exercise her divining pendulum.
She achieved successes through her advice and treatments that often edged on the limits of miracles. She herself rejected the term miracle because she attributed it to the ability to use and activate powers that lie dormant in everyone. Not least, it was this gift that permitted Emma Kunz to discover in 1941 the power of the W├╝renlos healing rock that she named AION A. From 1938, Emma Kunz created large-scale pictures on graph paper. She described her creative work as follows: "Shape and form expressed as measurem…
language folding

Jenny Hval - ‘Paradise Rot’

The book, Jenny’s first novel to be translated into English, sits almost on the floor, half on the floor, half on the folded red and white fabric purchased in Brighton - from a charity shop the day after Pheobe set off back to university - our short trip south processing both listening, viewing as audience, performing. It rained a lot. There’s a lot of dampness in Paradise Rot. Damp that is an essential part of memories formed, recounted (how many years does it take to realise that the parts of a situation that are, at the time, frustrating, uncomfortable or fall outside of ones initial hopes, are intrinsic to the sensuality of recall). Dampness also on another recent trip, this time to Oslo with Pheobe where we dodged through the rain to see an installation and then to a building nearby, coats dripping on the stand near the door, we found a copy of Perlebryggeriet (the original 2009 Norwegian version of the book) on the shelves that had been…
fluxus - actions of continuing distortion

if one reads from the various histories of the fluxus movement and its infleunces there is always mention of its truly international scope: Scandinavia, Netherlands, Japan, Britain, America etc. One can find reference to apparently highly active art scenes in cities around the world. Hints at the influence of elements of the Bauhaus movement, the Surrealists, the Existentialists, Dada and certain aspects of the Black Mountain College. However most books on the form tend to gravitate towards the US and some focus on the classes that Cage ran at the New York School for Social Research between 1957-1959 as being some kind of point at which several of the key concepts took shape, or at least a reflection of that process. let's put aside the fact that Cage was not alone in running classes involving chance, indeterminacy, instruction / graphic scores and actions at the time (in the US and elsewhere), and that the factor of being held in New Yor…