The artists' strict commitment to an 8.5" x 11" sheet of paper, its material and form, as the "site" of their collaboration proved impossible to represent on 7x7's digital platform. The following presentation should be considered a rough translation of their collaboration, with the desktop version in particular reproducing the work with the closest fidelity to the artists' original intention.
We heat our bodies for travel
for resounding, for getting
this over, for we are pressure & gradient—
we recline at the water’s edge.
A pipe extends.
Here is a metaphor for how
I can’t love you: (see particle horizon).
There is the flatness problem, the oldness problem1
and the inflated field2 with no correspondence
in this world. It is a wonder
we have the same temperature, same ratio of thigh to calf.
As when looking into the lit sky
distance corresponds with time into the past
and I see you in front of me as you were
though not from where you came.
After the storm we’ll check riser and rootwad.
During, we recline at its edge.
We are sphere & bend.
Hear the wind off the pipe at the delta:
how is it the waters both coo and rage?
1 Lightman, Alan, and Gingerich, Owen. “When do anomalies begin?.” Science 255, no. 5045 (1992): 690
2 Tsujikawa, Shinji. “Introductory Review of Cosmic Inflation.” Research Center for the Early Universe, University of Tokyo, Hongo, Bunkyo-ku, Tokyo 113-0033, Japan (28 Apr. 2003): Lecture
edge extend(s)
wonder temper
over riser
for
for
for
ver for sure phor
edg ext nder mper
er er
for
corr corr
wer wher stor sphr
over riser
pressure wonder
fter ter(s)
for surei
_____________________________________________________________ii
isee ANOMALY (see HORIZON PROBLEM); see also WONDER
iiillus. CAN’T LOVE
particle horizon
(or, move me)
romantic love is a drive:
We recline at the water’s edge.
elimination is a drive:
A pipe extends.
attachment is a drive:
We are sphere & bend.
chorus of the Sour Grapes:
You’ll say | you did | n’t want | me an | y way.
with no correspondence,
it is a wonder with no
correspondence, it is a wonder with
no correspondence, it is a
wonder with no correspondence,
it is a wonder^
We heat our bodies for travel.
We coo and rage.
How is it one body
can take another over
and over and over again?
Hear the wind through the pipe
or the pipe through the wind.
It is as when—
(see RISER)
nder, mper
ssure, iser
ssure, iser
mper, nder
nder, mper
iser, ssure
ssure, iser
mper, nder
coo, rage
rage, rage
coo, coo
rage—
Amanda Katz grew up in Midtown during the height of the Giuliani years. She now runs Katz’s Deli, a micro-residency and discussion-based exhibition program, out of her Mid City Los Angeles studio. Working at the intersections of art, poetry and social practice, she frequently produces collaborative work. Most recently, she performed a reading at the Little House Gallery (Los Angeles, CA), hosted a brunch at the Armory Center for the Arts (Pasadena, CA), and designed a project translating a three-part poem into a three course menu (with chef duo TABLE | TABLE), serving dinner at her studio for forty two people.
Renée Petropoulos is an internationally exhibited artist. She works in different media always in relationship to site. Recent performance projects include “Venice to Venice” (2012), part of the Hammer Museum Venice Beach Biennale, and “Black Star,” a performance in continuum in Berlin begun in 2006. Her outdoor public sculpture “‘Bouquet’ (Flower Tower) Between Egypt, India, Iraq, the United States, Brazil, Ethiopia, and Mexico” was installed in Santa Monica in 2014. In 2016, Petropoulos will release a cd of sound work (in collaboration with composer Greg Lenczycki) entitled “Between Libya, the United States and Scotland” based on her installation at LAMOA. She is currently working on a performance piece with the Isaura String Quartet and on a collaborative project with Neapolitan scholar Dr. Denise Spampinato.