https://www.timsimonds.com/wp-content/uploads/2020/07/Ep1_08_14_1000_TongueAndCheek.mp3 Tongue and Cheek Episode 1 (Phatics) https://www.timsimonds.com/wp-content/uploads/2020/07/Ep2_08_15_1000_TongueandCheek_Distorted_Version.mp3 Tongue and Cheek Episode 2: Breath and Incidental Vocalizations—with Jonathan Gordon— (Vocalise: Producing) https://www.timsimonds.com/wp-content/uploads/2020/07/Ep3_08_16_1000_TongueandCheek.mp3 Tongue and Cheek Episode 3: Articulating, Containing, Hesitating—with Morgan Garrett— (Vocalise: Shaping) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep11_07282019_TandC_Ep11_mixdown.mp3 Tongue and Cheek Episode 11: Offsite (Vocalise) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep13_WGXC2_TongueCheek_Cordially_SimondsLehmanMcCormick-Goodhart_WaveFarm_WGXC_20191203.mp3 Tongue and Cheek Episode 13: Cordially (Socialise) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep14_WGXC1_tonguecheek_20191105135601_ValveLash.mp3 Tongue and Cheek Episode 14: Valve Lash (Vocalise) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep16_WGXC3_TongueandCheek_WasteVoice_20200107-1.mp3 Tongue and Cheek Episode 16: Waist Voice—with David Dixon— (Vocalise) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep18_02292020_1100_Lehman_Simonds_Ruppel.mp3 Tongue and Cheek Episode 18: Borrowing Tellings—with Dan J. Ruppel (Ventriloquize) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep19_WGXC5_TongueandCheek_Resonators_ZachWinokur_WaveFarmRadio_WGXC_20200303.mp3 Tongue and Cheek Episode 19: Resonators—with Zack Winokur (Vocalise) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep20_WGXC6_TongueCheek_WindowsMirrorsFloors-_SimondsLehmanMcCormick-Goodhart_WaveFarm_WGXC_20200407.mp3 Tongue and Cheek Episode 20: Windows Mirrors Floors (Vocalise) https://www.timsimonds.com/wp-content/uploads/2020/08/Ep21_WGXC7_TongueCheek_Crowds-_SimondsLehmanMcCormick-Goodhart_WaveFarm_WGXC_20200505.mp3 Tongue and Cheek Episode 21: Crowds https://www.timsimonds.com/wp-content/uploads/2020/08/Ep22_WGXC8_TongueCheek_LiquidBreath_SimondsLehmanMcCormick-Goodhart_WaveFarm_WGXC_20200602.mp3 Tongue and Cheek Episode 22: Liquid Breath (Vocalise) https://timsimonds.com/wp-content/uploads/manual-uploads/Ep23_TongueCheek_MimicryOf_SimondsLehmanMcCormick-Goodhart_WaveFarm_WGXC_20201006.mp3 Tongue and Cheek Episode 23: Mimicry of (Socialise)

Tongue and Cheek Episode 25

A Sound of Teaching—with Phil Timberlake— Broadcast on Montez Press Radio, Saturday, November 21st, 2020 11AM–12:00, Broadcast on WGXC, Tuesday December 1st, 2020, 2PM–3PM

A Sound of Teaching—with Phil Timberlake— Conversations with Phil Timberlake, actor and teacher of voice and speech for actors, leading us through exercises inspired by Roy Hart, Catherine Fitzmaurice, Arthur Lessac and Kristin Linklater and leading him through how he visually imagines a moment of his teaching. 

Joined by Phil Timberlake

Phil Timberlake is an Associate Professor of Voice and Speech at DePaul University’s Theatre School. He is an Associate Teacher of Fitzmaurice Voicework and holds a Diploma as a Roy Hart Voice Teacher. Phil has been a Fulbright Fellow to France, and is currently an ensemble member at Chicago’s Lifeline Theatre.

(Vocalise)

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Tongue and Cheek Episode 24

Vocospherics, Broadcast on Montez Press Radio, Saturday, October 31st, 2020, 11AM–12, Broadcast on WGXC, Tuesday, November 3rd, 2020, 2PM–3PM

Vocospherics— Modulatet speech sounds to help diminish Covid’s spread? Thinking aloud around aerosolizations of voice — and what happens in the infrazone bettween mouth and mask.

(Vocalize)

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Tongue and Cheek Episode 23

Mimicry of, Broadcast on Montez Press Radio, Saturday, September 26th, 2020 11AM–12:00, Broadcast on WGXC, Tuesday, October 6th, 2020, 2PM–3PM

Tim Simonds

Mimicry of—To get used to the quality of speaking to yourself, sympathizing space and drawing the perimeter of the room with breath, hiking with Lia, decide what your feet are in, Bella reading some notes from Roger Caillois on Mimicry and Legendary Psychasthenia, Arthur Russell.

(Socialise)

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Tongue and Cheek
Montez Press Radio and WGXC

Tongue and Cheek is a radio broadcast that leads listeners through vocal and movement exercises. Broadcasts are composed of warm-ups, conversations, and archival sound that focus on language and communication. We think about communication in a broad sense, leading listeners through exercises that reimagine the limits of the human body, social interdependence, and interspecies or non-species communication. 

Voiced and led by Tim Simonds, Aaron Lehman and Emma McCormick-Goodhart 
Broadcast here, 8AM and 8PM everyday. 

To listen to future and archived broadcasts: 
First Tuesday of the month 2:00PM–3:00PM EST on WGXC
WGXC (90.7FM Acra) Wave Farm

Last Saturday of the month 11:00AM–12:00PM EST on Montez Press Radio
Montez Press Radio
Montez Press Radio Patreon

Tongue and Cheek was first developed and aired on Montez Press Radio beginning in the summer of 2018. Montez Press Radio is an experimental radio station and commissioning platform for unexpected works from artists and other creative voices. MPR continues to air new episodes of Tongue and Cheek during its monthly live broadcast at 46 Canal St in Chinatown, New York.

In 2019 Tongue and Cheek started an additional monthly broadcast on WGXC (90.7FM Acra, NY), Wave Farm’s community radio station. WGXC: Radio for Open Ears “is a full-power, non-commercial, listener-supported station in New York’s Upper Hudson Valley operating out of studios in Hudson and the Wave Farm Study Center in Acra.”

Phatics, Broadcast on Montez Press Radio, Tuesday, August 14th, 2018, 10AM–11AM

Breath and Incidental Vocalizations—with Jonathan Gordon, Broadcast on Montez Press Radio, Wednesday, August 15th, 2018, 10AM–11AM

(Vocalise: Producing)

Articulating, Containing, Hesitating—with Morgan Garrett, Broadcast on Montez Press Radio, Thursday, August 16th, 2018, 10AM–11AM

(Vocalise: Shaping)

Furrows, Broadcast on Montez Press Radio, Friday, August 17th, 2018, 10AM–11AM

(Vocalise: Directing)

Bodies Moving Bodies, Broadcast on Montez Press Radio, Sunday, September 23rd, 2018, 2:30PM–3:30PM

(Vocalise: Coordinating)

Canon, Broadcast on Montez Press Radio, Friday, January 25th, 2019, 1PM–2PM

(Socialise)

Hockets —with Ona Lindquist, Broadcast on Montez Press Radio, Friday, February 22nd, 2019, 11AM–1PM

(Socialise)

Hum, Broadcast on Montez Press Radio, Saturday, March 30th, 2019, 11AM–12PM

(Socialise)

Tingle—with Amanda Wallace, Broadcast on Montez Press Radio, Friday, May 24th, 2019, 11AM–1PM

(Socialise)

Better off alone? Broadcast on Montez Press Radio, Friday, June 28th, 2019, 11AM–12PM

(Socialise)

Offsite, Broadcast on Montez Press Radio, Sunday, July 28th, 2019, 11AM–12PM

(Vocalise)

Machine Empathy, Broadcast on Montez Press Radio, Friday, September 27th, 2019, 11AM–12PM 

(Vocalise)

Cordially, Broadcast on Montez Press Radio, Saturday, October 26th, 2019, 11AM–12PM, Broadcast on WGXC, Tuesday, December 3rd, 2020, 2PM–3PM

(Socialise)

Valve Lash, Broadcast on WGXC, Tuesday, November 5th, 2019, 2PM–3PM,
Broadcast on Montez Press Radio, Saturday, May 30th, 2020, 11AM–12PM

(Vocalise)

Reeds—with Mauro Hertig, Broadcast on Montez Press Radio, Saturday, November 23rd, 2019, 11AM–12PM, Broadcast on WGXC, Tuesday, February 4th, 2020, 2PM–3PM

(Socialise)

Waist Voice—with David Dixon, Broadcast on WGXC Tuesday, January 7th, 2020, 2PM–3PM, Broadcast on Montez Press Radio, Saturday, June 27th, 2020, 11AM–12PM

(Vocalise)

Talk to MePuppet with Ben Morgan-Cleveland, Broadcast on Montez Press Radio, Saturday, January 2nd, 2020, 11AM–12PM

(Ventriloquize)

Borrowing Tellings—with Dan J. Ruppel, Broadcast on Montez Press Radio, Saturday, February 29th, 2020, 11AM–12PM

(Ventriloquize)

Resonators—with Zack Winokur, Broadcast on WGXC, Tuesday, March 3rd, 2020, 2PM–3PM, Broadcast on Montez Press Radio, Saturday, July 25th, 2020, 11AM–12PM

(Vocalise)

Windows Mirrors Floors, Broadcast on Montez Press Radio, Saturday, March 28th, 2020, 11AM–12PM, Broadcast on WGXC, Tuesday, April 7th, 2020, 3PM–4PM

(Vocalise)

Crowds, Broadcast on Montez Press Radio, Saturday, April 25th, 2020, 11AM–12PM, Broadcast on WGXC, Tuesday, May 5th, 2020, 3PM–4PM

Liquid Breath, Broadcast on WGXC Tuesday, June 2nd, 2020, 2PM–3PM

(Vocalise)

Mimicry of, Broadcast on Montez Press Radio, Saturday, September 26th, 2020 11AM–12:00, Broadcast on WGXC,Tuesday, October 6th, 2020, 2PM–3PM

(Socialise)

Vocospherics, Broadcast on Montez Press Radio, Saturday, October 31st, 2020, 11AM–12, Broadcast on WGXC, Tuesday, November 3rd, 2020, 2PM–3PM

(Vocalise)

A Sound of Teaching—with Phil Timberlake— Broadcast on Montez Press Radio, Saturday, November 21st, 2020 11AM–12:00, Broadcast on WGXC, Tuesday December 1st, 2020, 2PM–3PM

(Vocalise)

Tim Simonds, Tongue and Cheek, Montez Press Radio, Emma McCormick-Goodhart

Lend me your ears!
Shakespeare, Julius Caesar 

There are messages primarily serving to establish, to prolong, or to discontinue communication, to check whether the channel works… Dorothy Parker caught eloquent examples: “‘Well!’ the young man said. ‘Well!’ she said. ‘Well, here we are’ he said. ‘Here we are’ she said, ‘Aren’t we?’ ‘I should say we were’ he said, ‘Eeyop! Here we are.’ ‘Well!’ she said. ‘Well!’ he said, ‘well.’ ” 
Roman Jakobson, “Linguistics and Poetics” 

To reach an arm out of one’s mouth, peek through one’s ear, and speak out of one’s eye. Communication happens by any means possible. It is the different ways bodies extend themselves, as limbs that bridge things—reaching out, stretching and sometimes touching, with a light tap, “Marco!”

How we voice, how we gesture, how we manner, how we empathize.
Exercises to find all ways of thinking of language, and to exercise them as their own paths of communication.

To empathize over radio. Invite to do the same—feel, mimic, echo. “Polo”
The sound of leading, of following, of teaching speaking. 
And learning to make a body of a limb. 

Caroline Reagan, DOCUMENT. “Montez Press Radio brings us the best (and weirdest) of the downtown arts and culture scene” (June 17, 2020)

Dean Kissick, SPIKE. “The Downward Spiral: Paradise at Dimes Square” (June 13, 2019) 

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solips

photo credit: Gustavo Murillo

solips are plant-grown fruit (vegetables and fruits) overcorrected with bleach. A few are not edible growth, but urban weeds.  

celery, water, traces of bleach and under-bed storage bins as a part of Exo Emo curated by Antoine Catala and Vera Alemani at Greene Naftali.

Exo Emo curated by Antoine Catala
and Vera Alemani at Greene Naftali.
 

Tim Simonds, Solips, Exo Emo, Antoine Catala
Tim Simonds, Solips, Exo Emo, Antoine Catala

Tim Simonds, Solips, Exo Emo, Antoine Catala

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Tim Simonds, Solips, Exo Emo, Antoine Catala

Solips is not a word but in English it has related sounds to solipsistic, solo, solitary, lips, polyps

Tim Simonds, Solips, Exo Emo, Antoine Catala
Tim Simonds, Solips, Exo Emo, Antoine Catala
photo credit: Emilie Segnarbieux and Rond-Point Projects 

celery, water, traces of bleach and under-bed storage bins
installed as a part of I said, “say they” at Rond-Point Projects, Marseille. 

press release, I said, “say they”
at Rond-Point Projects, Marseille.


Rond-Point Projects

Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"

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Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"

Controlling food. 

Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"
Tim Simonds, Solips, Rond-Point Projects, Marseille, I said, "say they"

Tim Simonds, Solips, Empress Icarus
photo credit: Tabitha Piseno  

Empress tree, water, traces of bleach and storage bins
installed as a part of Pendant, curated by Tabitha Pisenoat WPN Projects, NY. 

press release, Pendant at WPN Projects, NY.
WPN Projects

Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus, Pendant, WPN Projects

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Tim Simonds, Solips, Empress Icarus, Pendant, WPN Projects
Tim Simonds, Solips, Empress Icarus, Pendant, WPN Projects
Tim Simonds, Solips, Empress Icarus, Pendant, WPN Projects
Tim Simonds, Solips, Empress Icarus, Pendant, WPN Projects
Tim Simonds, Solips, Empress Icarus, Pendant, WPN Projects
Tim Simonds, Solips, Empress Icarus, Pendant, WPN Projects
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus

Routines of care. 

Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus

Transparency is something we associate with honesty, purity, or letting someone in on something. Yet at the same time as a piece of plexi or glass reaches for the ideal of being looked through—honest, pure, and uninterrupted by glare and muddling reflections—it hides itself and meekly shrinks away. A way of receding, shrinking back, hiding in an act of exposing something, making something pure, or making something evident. In that way the formal qualities of transparency are very human and social, a kind of emotional and interactive complex between someone and the world around them. Active and passive. Transparency as a kind of camouflage. —meek and assertive—crossing ones feet and wanting to be imagined and seen as shouting.

Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus, Bella Janssens
Tim Simonds, Solips, Empress Icarus
Tim Simonds, Solips, Empress Icarus

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photo credit: Pete Moran   

celery, water, traces of bleach, resin sealed cardboard box
installed as a part of The Way You Look: Ashish Avikunthak and Tim Simonds, curated by Pete Moran at Burlington City Arts, VT.

press release, The Way You Look: Ashish Avikunthak and Tim Simonds, curated by Pete Moran at Burlington City Arts, VT.

Burlington City Arts

Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds
Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds

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Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds
Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds
Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds
Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds
Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds
Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds
Tim Simonds, Solips, Ashish Avikunthak, Pete Moran, The Way You Look: Ashish Avikunthak and Tim Simonds

photo credit: Dario Lasagni   

Honeydew melon, papaya, carrot, daikon, onion, pineapple
installed as a part of Cathouse Retrospective, curated by David Dixon at Chemistry Creative, Bk.

Cathouse Funeral

Tim Simonds, Solips, Cathouse Retrospective, Cathouse Funeral, David Dixon
Tim Simonds, Solips, Cathouse Retrospective, Cathouse Funeral, David Dixon

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Tim Simonds, Solips, Cathouse Retrospective, Cathouse Funeral, David Dixon
Tim Simonds, Solips, Cathouse Retrospective, Cathouse Funeral, David Dixon
Tim Simonds, Solips, Cathouse Retrospective, Cathouse Funeral, David Dixon
Tim Simonds, Solips, Cathouse Retrospective, Cathouse Funeral, David Dixon

Tim Simonds, Solips, Cooper Union, grottenolm, Bethany Ideas, Ari Ferdman, Dump Camp

beetroot, carrot, papaya, bleach, fishnet stocking  

as a part of Dump Camp, a conference and sequence of performances organized and curated by Bethany Ides and Ari Ferdman in a lecture-class room at Cooper Union. 

Tim Simonds, Solips, Cooper Union, grottenolm, Bethany Ideas, Ari Ferdman, Dump Camp

Hung in the window bays in netted bags. The clean smell of their bleached flesh wafts in with the open windows over the course of the day-long conference / sequence of performances. Dripping dry, and becoming more opaque as the day goes on and in the case of the beat, slowly re-reddening as it re-dyed itself from the inside out. How does this flesh take care of itself, inform itself? Is correcting, over-done, self defeating, self effacing?  

Tim Simonds, Solips, Cooper Union, grottenolm, Bethany Ideas, Ari Ferdman, Dump Camp
Tim Simonds, Solips, Cooper Union, grottenolm, Bethany Ideas, Ari Ferdman, Dump Camp

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Tim Simonds, Solips, Cooper Union, grottenolm, Bethany Ideas, Ari Ferdman, Dump Camp

On the floor in the same space are a set of prints (To do before washing hands) taped to the floor in the way of the walking paths of the classroom.  Each print is an image of a hand with reminders and to-do lists written on them. Some of the images show a wet hand, with handwriting smudged or running.

Tim Simonds, Solips, Cooper Union, grottenolm, Bethany Ideas, Ari Ferdman, Dump Camp

These are the first solips or bleached vegetables and fruits. I had at the same time been bleaching single stems of celery and hanging amidst prints that I was making from my spelling errors in my correspondences to my students. solips have always been a form of hyper-correction that runs parallel to the way I have thought of a teacher’s insecurity, the position of a teacher’s voice that is correcting itself.

What happens if the badly idealized forms of teacher and learner are folded over each other? What is the centripetal-ness, the self-awareness, self-reflection, self-correction, selfishness, passive, meek and undependable nature of a position seen and idealized centrifugally, hierarchically, as selfless, active, responsible? Though I had started then to work with teaching as a material, I only realize now, that the space of Bethany and Ari’s conference/performances was the first time that I entwined my work with an environment of teaching; I had taught in similar classrooms for a few years and still do. 

Tim Simonds, Solips, Cooper Union, grottenolm, Bethany Ideas, Ari Ferdman, Dump Camp

Tim Simonds, Solips, Bookmark
Tim Simonds, Solips, Bookmark

In grade school when you learn how plants work, at the same time, how human work, how the blood circling around makes its way back up your legs, you place a piece of celery in a cup of water and food coloring. You watch the red, blue or maybe yellow march its way up the stem and to its leaves.   

Tim Simonds, Solips, Bookmark

Tim Simonds, Solips

pineapple, mango, beet, apple, squash, papaya, kiwi, traces of bleach, plastic bins
in House of Orange at Wilma Projects.

Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects

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Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects
Tim Simonds, Solips, House of Orange, New York, Brooklyn, Art, Wilma Projects

Horizons of whitening. 

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model maypoles and braids

model maypoles and braids, Tim Simonds, Da
Photo credit: Dario Lasagni 

press release, model maypoles at Da, 2020

Two or more people have a conversation in a room and then leave it. They leave the room and leave the conversation. The conversation is left in the room. But it has no story. It hasn’t been left with a story. There is no “about.” It is a pattern. Or a patterning. Just the relations. A bunch of prepositions lingering there. Some negotiation. Some coordination. All the social words with which we describe music: harmony, dissonance, chord, discord, resolution, fugue, counterpoint. It is left there. But it is not residue. More like a puppet. It moves. And might be dressed up. A puppet that is a teacher. A puppet that is a teacher with only limbs. And someone else, some other people, might come in and use it; pick it up and dance with it. 

Here are a set of maypoles. They are like the midsommarstång danced around in Sweden, like liberty poles and arbres de la liberté that rally a gathering for someone to speak out in a small village in 18th century France or North America, like the poles plaited in Waldorf schools as a part of elementary education, like the Maibäume birch tree tied to the corner of the houses of lovers in the Rhineland. They are model size. Smaller rituals. Some move. Some are obstructed. Some are knotted from the outset. And some are too fragile to stand on their own. 

model maypoles and braids, Tim Simonds, Da

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model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da

Once circle, 
All equally spaced around, 
numbered clockwise.
The even numbers face out. 

model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da

The odd numbers face in— 
they do not move, but act as gateposts.

model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da

The even numbers move.

model maypoles and braids, Tim Simonds, Da

Away from the center of the circle
Turning right, 
And moving back towards the center of the circle 
passing between the next gate post.

model maypoles and braids, Tim Simonds, Da
model maypoles and braids, Tim Simonds, Da

Turning left, 
And moving back away from the center of the circle
Passing between the next gate posts. 

model maypoles and braids, Tim Simonds, Da

Turning right, 
And so on and so on…

model maypoles and braids, Tim Simonds, Da, Heinrich von Kleist

One evening in the winter of 1801 as I walked in the park, I happened to meet Mr. C—who was engaged as first dance in the opera, a man very popular with the public. I told him, in passing, that I had seen him several times at an outdoor marionette theater that had been set up in the market square to entertain the common-folk with song and dances and short dramatic burlesques. 

He assured me that I need not be surprised at his delight in the pantomime of these marionettes; and hinted that they could be very effective teachers of the dance. Since he did not seem to be indulging a mere whim about them, I sat down with him to discuss this strange theory in which marionettes seemed to become teachers. 
— Heinrich von Kleist, On the Marionette Theater, 1810 (translator unknown) 

Faculty Meeting with Rudolf Steiner: ‘There is a question about speaking in chorus’ — Emily Martin, Victoria Haynes and Mauro Hertig with Tim Simonds: model maypoles at Da
Faculty Meeting with Rudolf Steiner:
‘There is a question about speaking in chorus’

Readings and performances by
Victoria Haynes, Mauro Hertig, and Emily Martin

Broadcast on Montez Press Radio,
March 26th, 2020, 4:00 PM – 5:00 PM (EST)

model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds

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model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds, communication, diagram
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist

model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist

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model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist

model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist

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model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist
model maypoles and braids, Tim Simonds, Da, Brooklyn, New York, art, artist

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bottles and diaries of routine ghosts

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Photo credit: Adam Kremer, Dario Lasagni, Jae Cho

as a part of Inclinations, curated by Jae Cho at Spencer Brownstone

Spencer Brownstone

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

Diaries that track each vine and their transplanting. A tracking of the routine presence of watching them.

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Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

Bottles grown from seed, transplanted several times and trained to climb. Hanging in a shorter space than where they were grown, uprooted and roots uplifted. 

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

What is spoken personally (embottled, bottled up) and what is shared openly. 

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

A bottle’s open top is its horizon. The stopping access of the world. Gravity moves up rather than down. The terrain of a ghost trap. The view from the lobster. Building a ship in a bottle means building it underwater or at least already lost at sea. From a remove. It takes patience and care always at a remove. My nose always on the other side of glass. Patience, care, remove, fragility 

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

Bottles are not as big as pots. Bottles entail routine. One day, one event opening or closing. 

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

Being put in an effort to be preserved. Not just maintained in their growth but held to fit in an environment. How to freeze them or transplant them, wanting to hold onto them or to literally stop them, in the same way one stops a bottle, corks it. They share the form of a bottle. Vines work like liquid, moving up, filling up according to their container rather than fully determining their own strength by dint of their roots. Their roots are essentially along their trunk, a sort of inverted plant, where roots are high, and the horizon has been shifted to the top, like a perspective under water or from the perspective of a fly trapped in a bottle. Where they were grown.

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone
Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

Routine ghosts are the haunting of a habit (as in something that is supposed to be almost instinctual and subconscious, here coming forward), and our habitual encounter and looking over (or through) of the un-neat, untidy, the detritus of “punctual” activity, — in other words marginalized elements automatically dead. We make dead by caring and wanting to preserve things. Ghosts of the every day. Unnoticed things. 

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

To go back to the first, in the vines is always a kind of ghost of a routine, watering, training, that has its repetition but no clear end, no “fruit.” The whole is defined by the absences as a result of care. What is not there, (the space that they were grown in, the soil and pots they grew from). Nature without nostalgia. Culpability of caring. 

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

“bottled naturalism” —(Gabrielle Cody)

Bottles and diaries of routine ghosts, Tim Simonds, Inclinations, curated by Jae Cho at Spencer Brownstone

The calabash gourd (penguin is a varietal) is one of the first plants to be grown agriculturally not for it as food but as a tool. A bottle, a hollow, for drink, preserving, or music.  

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Exquisite Corpse
L’Arche à Marseille and Food Radio

Group mimicking and drawing exercises. In 2017 Anne Marchis-Mouren and I worked with the community of L’Arche à Marseille to do a series of workshops. For one workshop we worked with a greenscreen and for the other, Atelier de Transparence et Cadavre-Exquis, we worked through a series of group mimicking and drawing exercises. In the final exercise, the group on one side of the plexiglass frame drew what they saw through the frame, and the individuals on the facing side followed with their marker what their partner was drawing. Special thanks to Triangle France, where I was in residence, for supporting the project, and Marine Ricard for documentation.

L’Arche à Marseille
Triangle France

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In 2018 I organized a similar exercise, Exquisite Corpse,with a folding frame for the NYC Chinatown store-front and community radio project, Food Radio. Thanks to Bella Janssens who organized and ran Food Radio with the architecture office Food NY and their outreach to the Chatham Square Library  

Food Radio
Arch Paper

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