Wandering Calendar #7


π‘Ίπ’†π’π’•π’Šπ’π’†π’ π‘·π’π’ˆ π‘³π’Šπ’•π’•π’†π’“ π‘¨π’„π’•π’Šπ’π’ 𝑻𝒐𝒓𝒐𝒏𝒕𝒐 πŸπŸŽπŸπŸ“ [ 𝑺.𝑷.𝑳.𝑨.𝑻. ’25] coincided with the transition to the next lunar year; we are honoured to share this final chapter of the Wandering Calendar, contributed by the incomparable Jeanne Randolph✨

This work consists of 2000 custom-printed pogs, which the artist dispersed throughout various interiors, public spaces, sidewalks, and sites of commerce across the centre of Toronto, with the support and assistance of @jkarah and @kvtoronto .

From our recent correspondence with Jeanne (which has been one of the overwhelming joys of this undertaking):

β€œI could blabber at length about my wish to represent S.P.L.A.T 2025 as ephemeral, illusory, imagined, symbolic of the fragility of ethics in the culture of our current day – [β€˜bungled’ representation as a kind of performance by inanimate technology]. My interpretation of performance is that the performer is like the filament of an incandescent light bulb: she is burning so bright you won’t see her: what you see is The Predicament in all its luminosity.”

All images have been produced by Jeanne, manipulating her own documentation of S.P.L.A.T. , except the last one, which Kara captured of Jeanne in action.

Jeanne Randolph is an independent intellectual whose most recent book mocking consumerism is β€œMy Claustrophobic Happiness” (2020). Randolph claims to have invented ficto-criticism in 1983. Her performances are extemporaneous free association in response to the cultural context to which she has been invited. Since 1980 her essays, performances and books have pondered The Technological Ethos, psychoanalytic theory, contemporary Canadian art, advertising, Western philosophy and an array of phenomena such as Barbie dolls, dancing in the end zone, boxing, parking lots, mince-meat pies, Mother Theresa, aphids etc. etc. and β€œnothing.β€œ


View Wandering Calendar #7 documentation