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The Russian Sauna Exchange

I sit across from the same two men, fully clothed in the office back in North London. They’re both Russian, I am English but come from Welsh decent. The company we all work for necessitates our occasional journey too and from Mars. The sauna on Mars is nothing like I would have imagined – and you get there by car after landing by shuttle. It involves buckets full of hot water that soak twigs and branches and leaves bound together with twine. You sit in just your towel fully prepared for you office colleague to ask you to remove it, approach the bench in front of him and lay flat on your back – suddenly you are faced by this man, who you usually communicate professionally with in a suit, completely bereft of clothing brandishing a collection of twigs, branches and twine in his hand. He then proceeds to whack you with them moving from your face down over your nether regions passed your knees ending with your toes. You’re left sore but surprisingly acclimatised for the galactic air that waits. But… why the ritualistic act? Is it really necessary on the evening of landing on another planet?

My brother and his partner received a present this Christmas from his partner’s mother and step father to visit a local all day spa in the middle of Nottingham Forest. They said they had to pre-book their treatments before arriving to save disappointment and began to list to me, much to my annoyance, the different ‘procedures’ they would subject themselves too. I asked the name of the sauna, they said it was called the torture rooms – I then asked them if Russian Sauna Exchange was available – to this they replied with blank faces. It’s a Russian exclamation for exfoliation and acclimatisation I said… you should try it, they do it on Mars mostly but someone might know what it means in the middle of Nottingham Forrest… it involves using twigs leaves and branches drenched in boiled water: there’s plenty of that in Nottingham Forrest.


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ROUND OBJECTS TO THROW THROUGH hollowed HOOPS

[the basis of circulatory flow]

“When thinking of museums I think of paths to museums and paths back again after the experience, our minds often flooded with the objects we take in our heads. These places need hollow halls at the top and open platforms to the sky…”


Across the causeway towards the rock that sits in the middle of the sea we walk. I turn to my friend and say that if the tide was in our heads would be submerged in water – to this she replied we would need weights attached to our ankles to walk still on the path. This is true. Once at the rock she collected round objects and arranged them on the beach. To what affect I am not so sure, perhaps to make an order of things.

At the top of the rock we climbed there stood a house built on top of another house to rest from the wind – it was no lighthouse simply a watchtower with winding stairs and hollow halls. It was very ordered in its architecture and at the top a platform jetted out into the stream of open sky. There we stood and watched the disappearance of the path aforementioned. The tide had swallowed its rock pools, swelled back to the shore, and we were fully surrounded by the waters below. The sun was loosing itself over the hills in the distance and we had naught to burn for warmth or for light. The halls were hollow.

If the tide was in our heads it would most likely be in our bellies and in our lungs. We’d be flooded with the tide.

If the tide was in our heads would like to be above the brim of the water’s edge so as not to freeze: so as not to have the tide in our bellies and in our lungs. We would avoid being flooded with the tide.

We risk having the tide in our heads and use the round collected objects on the rock’s beach, put them in our socks and weight ourselves down. We then walk the path together holding our breath until the shore.


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Brief description

I knew this person in Leeds when living in Montpelier, a Victorian gated community of flats with a lawn at the front. It used to be an orphanage. These may still be the days where you fit everything you own in to one room because one room is all that you own and have to yourself – her room in Leeds was full of herself. I used to sit on her bed and draw for hours whilst she inspected insects collected throughout the day at her desk at the foot of the bed. To the left of the bed on the wall an original piece of artwork hung framed on the wall. The work was by her father a successful rock climber in the world of rock climbing and a notable artist too.

Here in Bristol her room looks pretty much the same. Its full of all the same objects and houses the same person – there is however but one addition to this – a strange object rather like a medal draw or a draw to keep different beads of varied shapes and sizes. Turned on its side and propped on top of the same desk against a different wall it has many compartments for her many micro-objects to be shelved. They collect dust but hang pretty: each of them holding an aspect of her personality – when she is out of the room I quickly lick one of them clean… a different one each time, replacing it before her return.

Back in her old flat in Leeds (I know someone else who lives there now) upon the wall in the living room, hangs another of the compartmentalised draws used as a shelving unit – it too holds many objects that are apparently unrelated.

One day I’d like to stand them both side by side and cross-reference them looking for any difference or indifference in repetition…


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Final question: What is the language of the mind?

The other night I dreamt of licking my best friend’s partner. We were in a building that resembled an assemblage of architecture – a mixture between Oxford’s Christchurch grounds, Glasgow’s University erection and Leeds’ modernist definition. Running around as we used to it just happened and my tongue sort of slipped. I licked her.

We used to count chevrons on the road driving from East Anglia to Bristol. “Chevron” resounded in the car every time one shoved itself under the nose of the bonnet: unison of intonation announcing our situation on the road. Chev-ron. We said it a lot. The journey felt longer but was better for it.

In Bristol the two of them live apart but together in two separate houses around five minutes cycle ride from each other. There are no chevrons on that route. Just short cuts and back alleys to navigate with peddle and bike lights. At her partner’s house we cook vegetables together that have been cut together in a pan together. We do everything together we light the stove with a cook’s blowtorch together because the gas ignition does not work.

I now display my affection for this girl on her Facebook page. I like everything on her wall with a “like” and shout chevron to myself at the back of mind with each indulgent click. Then at the top of her page I announce I have licked everything in her status. A strange difference there is between liking and licking – does one come with the other? Do you like someone because you lick him or her or do you lick someone because you like them?

My French teacher used to say (with little affect other than this, as I have forgotten the French now), make sure you get your accents right, make sure you’re using the correct sort of intonation. An example she used to use was: if you do not use this sort of accent correctly you could end up saying “I lick Cliff Richard” rather than – what I assume she meant us to say – “I like Cliff Richard”.

I ask myself the following questions:

Why did I let my tongue slip?

Do I like my best friends partner?

Did my French teacher have a sexual fantasy about Cliff Richard?

Did she dream of Cliff Richard?

Why did I dream of licking my best friend’s partner?

Did I just get the intonation of the dream wrong?

Do ideas like this have – or indeed any other ideas have “intonation”?

How can a marking on a road become a chant?

What is the point of me writing this?

Answers:

My tongue slipped as it often does, I’m not good a holding my tongue at the best of times

I do like my best friends partner but not in a sexual fashion

My French teacher would have liked to lick Cliff Richard at some point

Everyone dreams of Cliff Richard

I didn’t really lick her I shouted lots at her – this made me hide behind the joke of licking her.

Yes I did get the tone of the dream incorrect I think

I think ideas do have intonation – ideas are visual and words that have meaning are also visual

A chant is a repetition of a word – a marking on a road that repeats itself, if announced every time one is passed does then become a chant

The point of me writing this is to make a point about the levels of intonation and meaning and the connection behind visual language, vocal language and the language of the mind.


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Museum collection (related objects apparently to do with ciculatory flow)

[built inpart with The Mutual’s members show at The Glue Factory]

OBJECTS INCLUDE:

Fimo supports (varied colours)
Plywood panels with black/white oil paint
three small orange plates sourced from Istanbul
apects of Dean Clough exhibition poster
postcard from Hayward Gallery 2005
Glass jar with light
3D slides from 1958’s World Fair, Brussels
Slide covers
Builder’s light (casting shadows)
Shoe rack
hand made ash tray from Gran Canaria street merchant
Glass paperweight
Extension lead
Wall mounted photographs of exterior and interior of Leeds City Museum

SOURCED FROM:
(all locations possible museums)

Glass jar kept from BA in 2006
Leeds City Museum basement
Istanbul via Newington, Edinburgh
The Henry Moore Institute
The South Bank of Thames
Charity shop across from CCA, Glasgow
Cardboard box in garage, Dronfield, Derbyshire
Same cardboard box
Glue factory, Glasgow
!950’s exhibition van
Gran Canaria, via Newington, Edinburgh
Lea road, Gainsburgh, Lincolnshire
Wilkinsons, Leeds
Leeds city museum


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