homecomings 1,2

homecomings 1, 2, 3, etc

1 Inspired by Georges Perec’s Espèces d’espaces(Species of Spaces, 1974) and Hreinn Friðfinnsson’s House Project (1974–), homecomings 1, 2, 3, etc.revisits, through varying means of translation, spatial and conceptual loci of homecoming within artistic practice.
2 Published with Archive Books, Berlin and curated and edited by Cassandra Edlefsen Lasch and Annabelle von Girsewald
3 The book launch features a series of readings and performances by, among others:
Shane Anderson, Samuel Dowd, Tatiana Echeverri Fernandez, Susanne Kriemann & Cia Rinne

(*) The publication’s design, which proffers extensive footnoting (in a nod to Georges Perec) often on a meta or tangential level, emphasizes the cross-referential nature of the homecomings project. The meta-footnotes can be read together as a combined preface or individually as a con- textual introduction for each contribution. Cross-references within the publication are marked by the symbol ||, denoting parallels and countless looping pathways through homecomings 1, 2, 3, etc..

What is lost and what is found in the process of returning home? homecomings not only drafts an outline of what this journey can mean in the present but also revisits, through translation, spatial and conceptual loci surfacing from within the artistic practice. The exhibition and symposium series is inspired by the architectural and linguistic returns and repetitions punctuating art- ist Hreinn Friðfinnsson’s House Project (1974–) and author Georges Perec’s Espèces d’espaces (Species of Spaces, 1974).

In testing the concept of “homecomings” against a number of artistic practices, the project grew out of an imperative to act according to the referentiality hallmarked in the conceptually rigor- ous works of Friðfinnsson and Perec. First and foremost, we thank Hreinn Friðfinnsson for the guiding light. The very vantage of his practice is an inspiration, from its instinctual interest in the world around us, shedding light and casting shadows, to the nuanced realm of interplay he sets about between his mediums, including the most ephemeral of elements embodied in his work. We hope that our project exacts such standards of patient time- and space-sensitive cultivation.

Furthermore, homecomings set out to open a flood of personal wellsprings that likewise make up the impact of any such project—the derived readings of the material, its function as a lens of thought as well as a device of amplification and registration. The plurality of the central term is consequential. No two connotations align perfectly, whether retrospective or projective—all points become way-finding nodes in the constant process of homing.