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These Are Situationist Times
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Postnordisk - Den nordiske kunstscenens vekst og fall 1976-2016

These Are Situationist Times!

Marianne Hurum: Krabbe

Liv Bugge: To accept theirs, to make it mine, to wish it for myself

Concrete Oslo

Ane Hjort Guttu:
Tekster, samtaler, manus

Dora Garcia: Segunda Vez – How Masotta was Repeated

Dora Garcia: Oscar Masotta – Segunda Vez, Cahier No. 1 and 2

Aktuell #1 Azar Alsharif

Lina Viste Grønli: LIBRARY

Guðrún Benónýsdóttir: 
lawlessness of dreams
colour palette

Ingrid Torvund:
When I Go Out I Bleed Magic

Benjamin A. Huseby:
Weeds & Aliens
An Unnatural History of Plants

Modelling Time: The Permanent Collection 1925-2014

Valentinas Klimašauskas: 
B and/or an Exhibithion Guide In Search of Its Exhibition

Matthew Rana:
The Theory of the Square

Eline McGeorge:
With the Free Rider into the oil age and beyond


Volupså & Postscript

Sebastian Makonnen Kjølaas: The Institute of Art and Crime

In Dependence –Collaborations and Artists´Initiatives

Bodil Furu:
The Aesthetics of Investigation

Jon Benjamin Tallerås and Ruben Steinum: Casual Maneuver – A Step Away From It

Geir Haraldseth: 

Great! I’ve written something stupid but I haven’t signed a contract with anyone to produce solely wise and perfect works

Marianne Hurum:

Mai Hofstad Gunnes:
Baby Snakes Hatching. Ruins. Ruins

Karl Larsson:
Poetical Assumption

Liv Bugge: You Make Me Want To Die In The Country Side –
A meditation on Heart of Darkness by Joseph Conrad

Marius Engh:
An Aggregation of Adversary

Kjartan Slettemark,Nixon Visions
Victor Lind, Monument


Hito Steyerl

Dan-Ola Persson:
Music for the Videos of Lars Laumann

Favoured Nations:
Momentum 5th Nordic Biennial of Contemporary Art

Steinar Haga Kristensen: Retrospective: On the Un-Subjectified Persona

Espen Dietrichson:
Sketches For A Mechanical Sunrise

Håkon Bleken:
tekster i utvalg (1964–2008)

Eivind Slettemeås:

Kunst og prekaritet

Kjersti G. Andvig:
No one here is Innocent

A Fiesta of Tough Choices: Contemporary Art in the Wake of Cultural Policies

The New Administration of Aasthetics

What Does Public Mean?
Art as a Participant in the Public Arena


Valentinas Klimašauskas
B and/or an Exhibithion Guide In Search of Its Exhibition

NOK: 150,-

ABCDEFGHIJKLMNOPQRSTUVWXYZ. Let us be deceived, but let us stay realistic — what looks like a simple line of capital letters in alphabetical order may also be a poem by Aram Saroyan (b. 1943) or Ian Hamilton Finlay (1925–2006), entitled STEAK (1968) and Arcady (1977) respectively. Artist Fiona Banner (b. 1966) also uses these 26 letters to make a neon alphabet that she titles as Every Word Unmade (2007), and then proposes to ‘unmake every word, or story imaginable’. Which of the works were you reading as you were reading this ‘simple line of capital letters in alphabetical order’? All three and more? With all these works we may as well curate an exhibition, shouldn’t we?‘

Why is the alphabet in that order? Is it because of that song? The guy who wrote that song wrote everything’, pronounces American stand-up comedian Stephen Wright (b. 1955), while French poet Louis Aragon (1897–1982) explores other options; Aragon uses the same material but very different techniques — all the letters appear in lowercase and split into rows to complete an arguably less ambitious poem Suicide (1920):


Not everyone starts learning a new foreign language with an alphabet. Though, however you start it, whether by repetition or by quoting, ‘the moment one learns English, complications set in’, Catalan American writer Felipe Alfau (1902–1999) opens his novel Chromos (1990). In 2010, Swedish sculptor and poet Karl Larsson (b. 1977) publishes his poetry book Parrot; here he reveals a parroting technique of using a foreign language, language of the other, to create something he can’t completely comprehend. Indeed, is one actually able to comprehend language completely, non-parrot-like?

This is the opening of Valentinas Klimašauskas first English book B and/or an Exhibition Guide in Search of its Exhibition. In it he is using imaginary or language based artworks and artefacts by various, including, fictional artists to stage situations for written exhibitions that might be set or located in someone’s head, Palaeolithic Chauvet cave, a collage of footnotes, floating in memory or the outer Solar system with Voyager 1, to mention a few.

Valentinas Klimašauskas is a curator and a writer who curates texts and writes shows. While being interested in speculative economies of language, he is into linking concepts & readers into language based performative systems. He lives and works in Athens and Vilnius.

Texts by Laura Kaminskaitė and Elena Narbutaitė.
Copy editors Chris Fitzpatrick, Eglė Kulbokaitė
Illustrations Virginija Januškevičiūtė, Laura Kaminskaitė, Fridrikas Samukas.

ISBN: 978-82-93104-13-1
Design: Goda Budvytytė
Torpedo Press 2014