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An evening with Sharon Kivland

Date: Friday 20 June 2014
Time: 06.00 PM to 08.00 PM
Venue: DOMOBAAL, 3 John Street, London WC1N 2ES

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Please join us for

An Evening with Sharon Kivland...& Freud...& Zola

A Private Invitation

Friday 20 June
Places are limited: kindly RSVP as attendance must be reserved.

Sharon Kivland has produced books for many years, as a writer, artist, editor, and publisher. She is a keen reader, thinking about what is put at stake by art, politics, and psychoanalysis. She fears that she may be a wild reader, subject to both digression and whimsy, and this may be seen to characterise her approach. With one or two exceptions (in one, the production values are absurdly excessive in their luxury, and in another, so basic as to be equally risible), the books are machine-printed, off-set or digital depending on funds; editions may be large or small, according to whim or publisher; some are no more than slim pamphlets, while others carry more weight. There may be a somewhat scholarly tone or look, but some books consist only of pictures, selected and classified.

To mark the completion of Kivland's two-year long serial publications: Reproductions I and III, Domo Baal and Sharon Kivland invite you to an evening of readings from recent work. This is an opportunity both to browse over thirty recently published works, including the first two booklets in what will be a series of twenty-five, Footnotes to Capital, I. The Commodity and II. The Process of Exchange (exactly as advertised).

Sharon Kivland will read from her new book
Freud on Holiday Volume IV
A Cavernous Defile – Part I

published by Cube Art Editions, Athens (full details below)

We are also delighted that Marianne Chase, a pithy and exciting young actor, will join us to introduce excerpts from Sharon Kivland's works – both published and unpublished – that take Émile Zola's Nana (1880) as a point of reference.

Reproductions III Du Monde/Of the World

We are delighted to present the completed subscription series Reproductions III, following the success of Reproductions I in 2012 (with many satisfied customers). It is subtitled Du Monde/Of the World, and if you will forgive a perhaps grandiose notion, the artist has been thinking about Maurice Merleau-Ponty's account of vision and visibility (that we are looked at, in the spectacle of the world), and Jacques Lacan's commentary thereon (that the world is not exhibitionistic, it does not provoke our gaze, but when it does, the feeling of strangeness begins). But enough of that!

There are thirteen books in the series limited to an edition of 50. Each book of between 16 and 36 pages, draws on the artist's collections of postcards, magazines, cuttings, and other printed ephemera, in another attempt to organise, catalogue, and archive. There is little text, apart from the title and usual colophon material.

The complete series is now offered neatly and attractively housed in a handsome bespoke clothbound slipcase, made by Book Works Studio in London.

Sharon Kivland –
Freud on Holiday Volume IV
A Cavernous Defile – Part I
With Lucia Farinati, and a foreword by Forbes Morlock
Designed by Christos Lialios

'Sharon Kivland invites us to go on Holiday, with Freud: up mountains, we walk; through streets, along the lake. We pick mushrooms. We go on adventures. Sometimes, we lose our way home. We digress. Interweaving meticulous historical research, Kivland's own retracing of Freud's steps and get personal memories, this is a creative reimagining not just of Freud on Holiday, but of the nature of biography itself. Poignant, evocative, passionate – this is a dream of a book.' Steve Pile, The Open University, UK

'The relaxed tone of the Freud on Holiday series smuggles in an unsuspected intensity that is difficult to get at without losing one's cool, overdoing it or otherwise dropping the pretence of reception, recognition, assimilation [...] I'm talking about the desire these books prompt in me for an experience of departure, perhaps one of those "little precipitates of language" that happened to Derrida when he was on the move.' Sarah Wood, Oxford Literary Review, UK

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