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!LANNA ,ORENZON
#* #ONWAY
+AORI +ATO
3HERRY -C,ANE !LEJOS
.ICHOLAS 7ADDELL
#URATOR !NUSHA +ENNY
MERCY STREET
14 May – 12 June 2010
Gertrude Contemporary Art Spaces
4HIS EXHIBITION TAKES ITS TITLE FROM !NNE 3EXTON´S
POEM -ERCY 3TREET WHICH SPEAKS OF FRUSTRATION
FAILURE AND FORGIVENESS IN THE CONTEXT OF A PERSONAL
HISTORY 4HESE CONCEPTS OPERATE BOTH OUTSIDE AND
INSIDE THE LAW SHADOWING PERSONAL AS WELL AS PUBLIC
RELATIONSHIPS -ERCY 3TREET WILL EXPLORE HOW PRIVATE
UNDERSTANDINGS OF MERCY AFFECT PUBLIC DECISION
MAKING
AND FORMALIZED IDEAS OF JUSTICE
4HE ½VE ARTISTS INCLUDED IN THE EXHIBITION SHARE AN
AWARENESS OF THE PRECARIOUSNESS OF ETHICS AND MORALITY
INSCRIBED INTO THEIR WORKS THROUGH AESTHETIC FRAGILITY
CONSTANT MOTION AND INTERMITTENCE )N CONTRAST TO THE
BLUNTNESS OF LEGISLATION THE WORKS IN THE EXHIBITION
FORMALISE EMOTION AND ADDRESS HUMAN FRAILTY WITH
COMPASSION AND ¾EXIBILITY 5LTIMATELY THE EXHIBITION
IS AN ELEGY TO THOSE WHO HAVE BEEN ABLE TO SHOW GRACE
WHEN REVENGE WOULD BE JUST AS APPROPRIATE
4 HE YOUNG PHILOSOPHER 3IMONE 7EIL ONCE WROTE
THAT ³)T IS NECESSARY TO UPROOT ONESELF TO CUT
DOWN THE TREE AND MAKE OF IT A CROSS AND THEN TO
FORMALLY DENIED THROUGH A DEVICE TO PROTECT SELF
INTEREST ALL NOISE MERCY IS LOUD IT IS AMBIGUOUS
AND BOTH HATEFUL AND LOVING IN THE SAME DELIVERY
CARRY IT EVERYDAY´
³"LESSED ARE THE MERCIFUL FOR THEY SHALL OBTAIN
) WONDER IF SHE HAD FOUND IN HER SHORT LIFE THAT MERCY´ -ATHEW
TO CARRY THE BURDEN OF THE HUMANITARIAN CROSS
RATHER THAN THE VIRTUOUS THEOLOGICAL ONE THAT 7HO THEN AND BY WHOSE APPROVAL ARE WE TO BE
SHE HAD FOUND A SORT OF RESTLESS PEACE LIKE THE MERCIFUL 7HO JUDGES A PERSON OF HIGHER WORTH A
FEELING OF BEING ROMANTICALLY ALONE THAT SHE HAD PERSON TO BE A PERSON ABOVE JUDGEMENT
FOUND THE TRUE MEANING OF MERCY OR DEBUNKED ITS
MEANING ALTOGETHER 4HE ARTISTS IN -ERCY 3TREET ADDRESS THE ETHICAL
ISSUES OF JUSTICE AND MERCY AND RECONCILIATION AND
3HIFTING FROM ASKING FOR MERCY TO BEING MERCIFUL FORGIVENESS AND WHAT CONTRADICTIONS PERVADE
IS THE SHIFT OF TRUE COMPASSION AND ONLY IN 7HAT IT IS TO EXIST WITH THE GRACE OF INNOCENCE
COMPASSION CAN WE BE FREE TO ACT FOR COMPASSION AND THE GRAVITY OF GUILT WHAT IT MEANS TO BE
COMES AT THE PRESENCE OF TRUTH 4HOUGH WHEN UPROOTED TO SEE WHAT IT IS AS 7EIL ALSO LATER
WE ARE SHELLED BY THE NATIONS´WORLDS´ OBSESSION WROTE TO EXPERIENCE A LANDSCAPE WHEN ) AM NOT
WITH JUSTICE AND RETRIBUTION WE LOSE SIGHT OF THE THERE
HUMAN AND GRAPPLE WITH OUR OWN POWER TO BANISH
THE OTHER 7HAT IT FEELS LIKE TO BE SUBJUGATED )F WE ARE TO ½ND THE CROSS AND CARRY IT IF WE ARE
IMPRISONED ISOLATED AND DENIED LIBERTY BECOME TO ¾Y OVERHEAD AND BE ON THIS SAME GROUND TO
PAPER IDEAS AND WE HOLD TIGHT TO WHAT ³THEY ½ND WHERE TRUTH LIVES THEN CAN WE BE FREE ¯ TO
DESERVE´ FORGIVE AND BE FORGIVEN TO LOVE AND BE LOVED TO BE
EQUALS TO SPEAK THE WORDS AND HEAR THEM SPOKEN
-ERCY IS DELIVERED FROM THE POWER HOLDER TO HURT TO SEE US LIFT THE CROSS AND FOOT AND TAKE THE
&ORGIVENESS IS DIFFERENT IT IS THE FACULTY FOR ACTION HAND AND HOLD IT TO ½ND WE WERE FREE TO NEVER
ON EQUAL TERMS ) FEAR THE WORD -ERCY ) LOOK INTO DENY FREEDOM
THE BLACK CANVAS THE BOARDING THE RED PAPER THE
TOPOGRAPHICAL MAPS AND SEE THE FURORE THE SELF
) ASK IT OF THESE ARTISTS AND THEIR WORKS AND WE
KEEPER THE FEARING 'OD THE WRETCHED AXE FALLING ARE DRAWN TOO TO ASK IT OF OURSELVES WHAT ARE WE
THE PRIDE THE GLARING POWERFUL WHO ADMINISTER MEASURING
AND DISMISS THOSE FROM THE PATHS OF LIVING
TOGETHER AND OF MUTUAL RECOGNITION /F FORGIVING
!LANNA , OR ENZ ON
!LANNA ,ORENZON COMPLETED HER "ACHELOR OF &INE !RTS 0AINTING
(ONOURS AT -ONASH 5NIVERSITY IN 3HE WORKS AND LIVES
BETWEEN -ELBOURNE AND !DELAIDE WHERE SHE GREW UP 0REVIOUS
GROUP EXHIBITIONS INCLUDE ,INGUA .ATURA C CONTEMPORARY ARTS
SPACE -ELBOURNE AND ,OTS OF 0EOPLE (AVE 7HAT 9OU (AVE
'EORGE 0ATON 'ALLERY -ELBOURNE
#* #ONWAY
CJ Conway attended the American Academy of Art, and spent
the first half of her life working in Chicago as an art director and
graphic designer. Since migrating to Australia she has completed
a Bachelor of Fine Arts (Drawing) from RMIT in 2009, and she is
undertaking Honours studies in 2010.
+AORI + A TO
+AORI +ATO GREW UP IN (OKKAIDO *APAN 3HE COMPLETED A "ACHELOR OF &INE
!RTS (ONOURS AT THE 6#! IN AND IS UNDERTAKING -ASTERS STUDIES IN
(ER WORK HAS BEEN EXHIBITED IN 3HADE OF 7HITE C CONTEMPORARY ART
SPACE -ELBOURNE = 'ALERIE 452- !KITA *APAN AND THE -ELBOURNE
!RT &AIR 2OYAL %XHIBITION "UILDING -ELBOURNE 3HE WAS THE
RECIPIENT OF THE 7ALLARA 4RAVELLING 3CHOLARSHIP
3HERR Y - C , A N E ! L E J O S
3HERRY -C,ANE !LEJOS WAS BORN IN -EXICO BUT HAS LIVED IN
-ELBOURNE SINCE 3HE COMPLETED A "ACHELOR OF &INE !RTS
(ONOURS AT THE 6#! IN (ER WORK IS CONCERNED WITH THE
ESOTERIC PHILOSOPHY LINGUISTICS AND SEDUCTION
.ICHOLA S 7A D D E L L
.ICHOLAS 7ADDELL COMPLETED A "ACHELOR OF &INE !RTS $RAWING
AT THE 6#! IN THE YEAR HE ALSO RECEIVED THE *OHN 6ICKERY
3CHOLARSHIP FOR $RAWING (IS WORK HAS BEEN EXHIBITED LOCALLY AS
WELL AS INTERNATIONALLY AT 4HE $IVISION OF (UMAN 7ORKS .EW 9ORK
THE %UROPEAN -EDIA !RT &ESTIVAL /SNABRUCK 'ERMANY AND IN THE
%DINBURGH !RT &ESTIVAL 3COTLAND
-ERCY
4 HE PREMISE FOR THIS EXHIBITION WAS DRAWN FROM
A NEWS STORY PUBLISHED BY 4HE !GE IN
TITLED ³6ICTIM´S FAMILY BEG FOR MERCY FOR DRIVER´ 4HE
"EHIND THE PUBLIC VITRIOLIC DEBATE LIE PRIVATE
UNDERSTANDINGS OF MERCY AND JUSTICE 4HE EXHIBITION
TAKES ITS TITLE FROM !NNE 3EXTON´S POEM -ERCY
ARTICLE OUTLINED THAT TWO YOUNG MEN BEST FRIENDS 3TREET WHICH SPEAKS OF FRUSTRATION FAILURE AND
WERE INVOLVED IN A CAR CRASH AND THAT THE PASSENGER FORGIVENESS IN THE CONTEXT OF A PERSONAL HISTORY
HAD DIED WHILE THE INTOXICATED DRIVER SURVIVED 4HESE CONCEPTS OPERATE BOTH OUTSIDE AND INSIDE
7HILE THESE CIRCUMSTANCES ARE NOT UNUSUAL WHAT THE LAW SHADOWING PERSONAL AS WELL AS PUBLIC
WAS NOTABLE WAS THAT THE FAMILY OF THE VICTIM HAD RELATIONSHIPS -ERCY 3TREET ENDEAVOURS TO EXPLORE
USED THEIR 6ICTIM )MPACT 3TATEMENT NOT TO EXPRESS HOW PRIVATE UNDERSTANDINGS OF MERCY AFFECT PUBLIC
THEIR ANGER AT THE DRIVER BUT TO PLEAD FOR A LENIENT DECISION
MAKING AND FORMALIZED IDEAS OF JUSTICE
SENTENCE BECAUSE IMPRISONING HIM WOULD BE LIKE
LOSING ANOTHER MEMBER OF THEIR FAMILY 4HE PROCESS OF ³FORMALIZATION´ CARRIES THROUGH FROM
THE LEGAL TO THE ARTISTIC IN THAT ³SHAPE´ CAN BE GIVEN
4HE GRACE THIS FAMILY DISPLAYED IN WHAT MUST HAVE TO AMORPHOUS ¾UID CONCEPTS A PROCESS FULL OF RISK
BEEN THE MOST TRAUMATIC MOMENT OF THEIR LIVES WAS AND COMPROMISE 4HE ½VE ARTISTS INCLUDED IN THE
HUMBLING 4HIS STORY ¯ A MINOR NEWS ITEM IN THE EXHIBITION SHARE AN AWARENESS OF THE PRECARIOUSNESS
MARGINS OF THE PAPER ¯ SPOKE TO SOME OF THE MOST OF ETHICS AND MORALITY INSCRIBED INTO THEIR WORKS
FUNDAMENTAL SOCIETAL QUESTIONS AROUND FORGIVENESS THROUGH AESTHETIC FRAGILITY CONSTANT MOTION AND
JUDGMENT AND JUSTICE 7HILE SUCH TRAGEDIES INTERMITTENCE )N CONTRAST TO THE BLUNTNESS OF
OFTEN SPARK EMOTIONALLY CHARGED AND POLARISING LEGISLATION THE WORKS IN THE EXHIBITION FORMALIZE
PUBLIC DEBATES THE ASSUMPTIONS UNDERLYING SUCH EMOTION AND ADDRESS HUMAN FRAILTY WITH
REACTIVE POSITIONS ARE RARELY EXAMINED 9ET THESE COMPASSION AND ¾EXIBILITY
ASSUMPTIONS CAN PLAY A POWERFUL POLITICAL ROLE IN
INFORMING CRIMINAL LEGISLATION AS WELL AS SHAPING !LANNA ,ORENZON´S PRACTICE IS DRIVEN BY THE SEARCH
SOCIETAL UNDERSTANDINGS OF MORALITY FOR WHAT SHE DESCRIBES AS A ³POETIC LOGIC´ )N
DEVELOPING 3EA /VER -OUNTAIN 3KY ,ORENZON TO THE REWARDS OF MEDITATIVE PRACTICE ,ORENZON
WAS DRAWN TO 3IMONE 7EIL´S ASSERTION THAT ALL OF WHO HERSELF PRACTICES MEDITATION DAILY SUGGESTS
THE ³NATURAL MOVEMENTS OF THE SOUL ARE CONTROLLED THAT HER WORK PROVIDES A RESPITE FROM THE CONSTANT
BY LAWS ANALOGOUS TO THOSE OF PHYSICAL GRAVITY´ MOVEMENT OF THE OUTSIDE WORLD )T IS A PLACE OF
SUCH THAT THE RISE AND FALL OF HUMAN EMOTIONS ELEVATING STILLNESS BUT REQUIRES CONCENTRATED
ARE CONTROLLED BY FORCES ANALOGOUS TO WEIGHT AWARENESS AND DISCIPLINE 4HIS STILLNESS IS IN A
MOVEMENT SUSPENSION AND GRAVITY 7EIL WOULD CALL SENSE A ³DISOBEDIENCE´ TO THE CONSTANT MOVEMENT
³'RACE´ THE ONLY ACTION DEFYING HER LAW INVERSELY FORWARD DEMANDED BY THE MODERN WORLD
SHE WOULD CALL SUBMITTING TO DESIRE TO HURT THOSE
WHO HAVE HURT YOU ³OBEDIENCE TO THE LAWS OF 4HIS CONSTANT MOTION IS EXPLORED IN #* #ONWAY´S
GRAVITY´ WHICH SHE SAW AS ³THE GREATEST SIN´ 4HE 7ORLD IS "OUND "Y 3ECRET +NOTS A
KINETIC MAGNETIC SCULPTURE THAT EXPLORES THE VISIBLE
$RAWING TOGETHER ROCKS DELICATE WORKS ON PAPER AND INVISIBLE FORCES THAT DRIVE HUMAN ACTION
SOUND AND SINGLE WORDS OR PHRASES 3EA /VER 4HE TABLE IS CONSTRUCTED FROM TWO SHEETS OF GLASS
-OUNTAIN 3KY COMBINES A SENSE OF CALM SUPPORTED BY STACKS OF BOOKS BORROWED FROM THE
WITH A SENSE OF HEAVINESS ,ORENZON´S INTEREST IN ARTIST´S UNIVERSITY LIBRARY 4HE BOOKS SEEM TO BE A
THE POETICS OF GEOLOGICAL MATTER AND THE EROSION OF RANDOM SELECTION FROM ALL OF THE 7ESTERN WORLD´S
LANGUAGE CONNECTS HER PRACTICE TO THAT OF 2OBERT ½ELDS OF ENQUIRY PHILOSOPHY ART PSYCHOLOGY AND
3MITHSON WHO WROTE THAT THE MIND AND EARTH SCIENCE AMONGST THEM /N THE TABLE SMALL MAGNETS
³ARE IN A CONSTANT STATE OF EROSION MENTAL RIVERS ARE CONSTANTLY MOVING PULLED AND REPELLED BY
WEAR AWAY ABSTRACT BANKS BRAIN WAVES UNDERMINE EACH OTHER AND THE INVISIBLE STRINGS CONNECTED TO
CLIFFS OF THOUGHT IDEAS DECOMPOSE INTO STONES ROTATING MOTORS HIDDEN ON THE ROOF
OF UNKNOWING AND CONCEPTUAL CRYSTALLIZATIONS
BREAK APART INTO DEPOSITS OF GRITTY REASON¨´ 4HE %SSENTIAL TO 4HE 7ORLD IS "OUND "Y 3ECRET +NOTS
DISINTEGRATION OF THE WORD ³0,%!3%´ UNDER LAYERS ARE THE UNSEEN MAGNETIC FORCES THAT SUSTAIN
OF SEDIMENT LOCATED IN A DETAIL OF ,ORENZON´S ITS MOVEMENT #ONWAY IS INTERESTED IN THE WORK
INSTALLATION CARRIES A GENTLE EMOTIONAL RESONANCE OF SEVENTEENTH CENTURY PHILOSOPHER AND SCIENTIST
4HE WORD AND ITS ATTENDANT SENTIMENT SEEMS TO !THANASIUS +IRCHER WHO CONSIDERED THE MAGNETIC
HAVE LITERALLY BROKEN UP ALONG ITS FAULT LINES UNDER FORCES OF ATTRACTION AND REPULSION AS THE DRIVING
THE PRESSURE OF LAYERS OF TIME 3MITHSON WROTE THAT FORCES OF ALL ASPECTS OF CREATION GOVERNING LOVE
POETRY ITSELF IS FOREVER ERODING ³AN ALWAYS DYING SYMPATHY HATRED CHEMICAL REACTIONS PLANETARY
BUT NEVER DEAD LANGUAGE´ A PRODUCT OF EXHAUSTION ACTION MEDICINAL PLANTS AND STONES THE WIND
!T THIS POINT OF EXHAUSTION AND EROSION RATIONALISM HYDRAULICS THE TIDES MUSICAL HARMONY AND EVEN
GIVES WAY AND IN ITS PLACE AN ENLIGHTENED SORT OF THE NATURE OF 'OD HIMSELF WHOM +IRCHER DEEMED
SPIRITUALITY EMERGES ³THE #ENTRAL -AGNET OF THE 5NIVERSE´ (OWEVER FOR
#ONWAY THERE IS NO SINGLE ½XED POINT OF ATTRACTION
4HE TABLEAU OF 3EA /VER -OUNTAIN 3KY HAS 4HE CENTRE CANNOT HOLD AND WHAT IS LEFT IS A STATE
A SENSE OF COMPLETENESS IN ITS COMPOSITION AND OF CONSTANT INSTABILITY DRIVEN BY INVISIBLE TENSIONS
STRUCTURE 4HE WORKS REQUIRE CONCENTRATION AND !LTHOUGH THE WORK GIVES THE OVERALL APPEARANCE OF
DISCIPLINE BUT PROVIDE AN ELEVATING STILLNESS SIMILAR BALANCE AND SYMMETRY AT CLOSE RANGE IT BECOMES
A CACOPHONY OF VOICES TEXTS TOMES AND PHYSICAL TWO DIRECTLY OPPOSING CONCEPTS AND AT THE TIME
FORCES EACH PULLING IN A DIFFERENT DIRECTION CREATING #ANTOR WAS CONSIDERED AN HERETIC
A PERVASIVE SENSE OF EMPTINESS AND INSTABILITY
3IMILARLY TO #* #ONWAY´S 4HE 7ORLD IS "OUND "Y
4HE INSTABILITY IS EITHER ANXIETY
INDUCING OR FREEING 3ECRET +NOTS +ATO´S !TTUNE TO THE %ARTH
AT ANY MOMENT A MAGNET COULD FALL THE WIRES MOMENTARILY RECONCILES OPPOSING FORCES
COULD TWIST OR SOMEONE COULD DESTABILISE THE PILED "ALANCING GRACEFULLY BETWEEN STRENGTH AND FRAGILITY
BOOKS THAT SERVE AS TABLE LEGS )N THIS WAY THE WORK IT DE½ES THE LIMITS OF ITS MEDIUM
REMINDS THE VIEWER TO ACCEPT THE TRANSIENCE OF EACH
MOMENT 3HERRY -C,ANE !LEJOS´ VIDEO INSTALLATION /NUS
ADDRESSES THE GAP THAT EXISTS BETWEEN
+AORI +ATO´S !TTUNE TO THE %ARTH HAS AN EVENT AND ITS RECONSTRUCTION 4HIS ³GAP´
SURVIVED ON THE PRECIPICE OF DISINTEGRATION 3INCE IS OF PARTICULAR SIGNI½CANCE TO CRIMINAL LEGAL
LEARNING ORIGAMI FROM HER MOTHER WHEN SHE WAS A PROCEEDINGS IN WHICH THE #OURT ATTEMPTS TO PIECE
CHILD IN *APAN +AORI +ATO HAS BEEN INTERESTED IN TOGETHER THE ³TRUTH´ OF WHAT HAPPENED THROUGH THE
PAPER FOLDING AND THE LIMITS OF THE MEDIUM (ER INTERPRETATION OF EVIDENCE
SCULPTURAL INSTALLATION IS COMPRISED OF THREE BLOOD
RED LAVA
LIKE FORMS ¾OWING OUTWARDS FROM EACH 4HE TITLE ³/NUS´ CALLS TO MIND THE CRIMINAL LAW´S
OTHER CREATED WITH PAPER FOLDED INTO A PATTERN THE ³BURDEN OF PROOF´ WHICH PLACES THE ONUS ON THE
ARTIST HERSELF INVENTED )T IS AT ONCE STRONG AND PROSECUTION TO PROVE BEYOND REASONABLE DOUBT THE
FRAGILE INVITING BUT MENACING 4HE WORK EXPLORES GUILT OF THE ACCUSED 4HIS PRINCIPLE IS CRITICAL TO THE
FORMAL TENSIONS AND THE WORK IS THE PRODUCT OF PRESUMPTION OF THE INNOCENCE OF THE ACCUSED AND
MUCH TRIAL AND ERROR $ESPITE THE WORK´S FRAGILITY THUS IS ESSENTIAL TO WHAT OUR SOCIETY CONSIDERS TO BE
THE ARTIST ENCOURAGES A DEGREE OF INTERACTION AND A JUST LEGAL SYSTEM
SEES THE OBJECTS AS TACTILE REACTIVE TO CHANGES IN THE
ENVIRONMENT AND ALMOST ALIVE &OR -C,ANE !LEJOS THIS ONUS IS FELT AS A PHYSICAL
BURDEN ON THE BODY THE STACK OF BOOKS THAT
+ATO´S PRACTICE IS SCIENTI½C IN THAT IT EXPLORES SIGNI½ER OF LAW AND KNOWLEDGE LITERALLY BEAR DOWN
THE PATTERNS AND EQUATIONS THAT UNDERLIE LIVING ON THE BODY OF THE ARTIST 4HE ¾ICKERING OF THE
MATTER 3HE DECONSTRUCTS THE NATURAL ³SUBLIME´ IMAGE AND ITS REPETITION DISLOCATES THE WORK FROM
INTO DISCRETE UNITS ¯ AN ORIGAMI FOLD ¯ AND THEN LINEAR TIME MUCH LIKE EVIDENTIAL ANALYSIS IN #OURT
REBUILDS AN OBJECT THAT AGAIN SEEMS TO SURPASS THE REQUIRES A SUSPENSION OF TIME IN ORDER TO RE
PIECE
SUM OF ITS PARTS TO BECOME SOMETHING BREATHTAKING AND ORDER WHAT HAPPENED IN THE PAST 4HESE OVERT
4HIS PROCESS BEARS AN INTERESTING RESEMBLANCE TO MARKS OF POST
PRODUCTION CREATE TRANSPARENCY
THE THEORIES OF THE TH CENTURY MATHEMATICIAN A ³LIFTING OF THE VEIL´ ANOTHER AIM OF THE JUSTICE
'REGOR #ANTOR WHOSE WORK ON SET THEORY IMPLIES SYSTEM
THE EXISTENCE OF ³AN IN½NITY OF IN½NITIES´ 4HE
THEORY RECOGNISES THAT IN½NITIES CAN BE TREATED 3TANDING BEFORE /NUS IS LIKE WATCHING
LIKE DISCRETE UNITS AND THUS CAN BE ADDED AND SOMEONE WAITING TO BE SENTENCED ¯ THE MOMENTS
SUBTRACTED FROM EACH OTHER A SUGGESTION THAT BEFORE THE HAMMER OR THE KNIFE FALLS 4HE BODY
APPEARS TO BE SELF
CONTRADICTORY #ERTAIN EQUATIONS IS ON ALL FOURS THE STROBE LIGHTS ¾ICKER AND THE
REQUIRE THE MATHEMATICIAN TO HOLD IN MIND THESE INTENSITY BUILDS 4HE LAW IS BROUGHT DOWN TO ITS
KNEES SEXUALISED HUMILIATED BUT STILL COLD AND OR MASKING THE CONTRADICTIONS INHERENT IN SOCIETY
UNCOMPROMISING 4HE REPETITION STOPS TIME SLOWS IT THESE WORKS ADDRESS THE REALITY OF THE CONDITIONS
DOWN TO CREATE AN ALMOST UNBEARABLE INTENSITY UNDER WHICH HUMANS MUST OPERATE
! SENSE OF THE TRAGI
COMIC IS PRESENT IN -R ! #ERTO
IN WHICH THE CONTENTS OF A DECEASED PERSON´S
VACUUM CLEANER ARE PRESERVED NEXT TO THEIR ASHES
³! #ERTO´ TRANSLATES IN ,ATIN TO ³WITHOUT A DOUBT´
7ADDELL´S INTEREST IN GAMING THEORY IS RE¾ECTED
3TEVE "UTCHER ³6ICTIM´S FAMILY BEG FOR MERCY FOR DRIVER´
IN THE UNDERLYING ASSUMPTIONS OF HIS PRACTICE LIFE
4HE !GE -AY P
IS NO MORE THAN A GAME AND ACHIEVEMENTS ARE !LANNA ,ORENZON IN EMAIL CORRESPONDENCE WITH THE AUTHOR
NOTHING MORE THAN POINTS ON SOME NON
EXISTENT -AY
3IMONE 7EIL 'RAVITY AND 'RACE 4AYLOR &RANCIS ,ONDON
SCORE BOARD 4HIS IS GALLOWS HUMOUR EVERY LAUGH TRANSLATION FROM &RENCH BY %MMA #RAUFURD P
IS OVERSHADOWED BY THE FACT OF REAL EMPTINESS AND )BID P
2OBERT 3MITHSON *ACK &LAM ED 4HE #OLLECTED 7RITINGS
THE PRESENCE OF THE ONE CERTAIN TRUTH AND ³GREAT 5NIVERSITY OF #ALIFORNIA 0RESS #ALIFORNIA P
EQUALISER´ THAT EVERYONE WILL ONE DAY DIE !LANNA ,ORENZON IN EMAIL CORRESPONDENCE WITH THE AUTHOR
-AY
0AULA &INDLEN ED !THANASIUS +IRCHER 4HE ,AST -AN 7HO
4HE WORKS PRESENTED IN -ERCY 3TREET ARE MARKED +NEW %VERYTHING 2OUTLEDGE .EW 9ORK ¯
BY THEIR AESTHETIC AND THEORETICAL ³PRECARIOUSNESS´ * * /´#ONNOR AND % &