Lamination Ritual is the current development
initiated by a Make Life Not Art campaign propagated in 1989 by my studio-turned
Originally located in the East Village of New York City, Generator was an
open call for intermedia experimentation, while continuing a personal preoccupation
I had with sound/noise/music and listening experiences.
The evolution of Generator - from studio to record store to concert hall to
exhibition space to archive to traveling show - often followed a logic akin
to "stream of consciousness". By refusing to take the steps necessary
to become commercially viable or to enter the arena of public funding, Generator
was to remain completely flexible and as spontaneous and broke. Transformations,
evolutions, openings and closings became an integral part of Generator as
well as the offshoots down unknown and sometimes seemingly unrelated paths.
These "seemingly unrelated paths" are as unmistakenly mysterious
as is the existence of "haphazard". One of these paths was the use
of the laminator in my work/life.
I supported Generator by working in a photo
lab where laminating services were also provided. Each day I took discarded
photographs out of the trash, cut them up and laminated them. Originally it
was a kind of therapy-against-boredom, but it evolved into an obsession and
source of inspiration. I decided Generator should have a self-service lamination
station for the public to experiment and play with. People often associate
lamination with the common place, practical objects such as: identification
cards, menus, driver's license, etc. etc. (most people carry a laminated card
with them all the time). But when people have the chance to experiment with
making their own laminations the results are inspiring. Somehow the do-it-yourself
trends found in more technically advanced mediums bypassed laminating. So
Generator became the cutting edge Lamination Headquarters in New York City.
(among its other functions.)
Generator I became increasingly more involved with organized sound and consequently
lost interest in "music" oriented traditions such as "music"
concerts and "music" instruments. In my own work I began using ordinary
objects to create sound experiences, in total darkness or in very stimulating
environments such as La La Lalandia 2077 events. I used a film projector (Keystone
Model 16 CC), an ice crusher (ICE-O-MATIC) and a laminator. Meanwhile I discovered
that laminating at Generator had a big impact on people. Among them were Canadian
artists Gordon Monahan and Laura Kikauka who invited me to laminate in a Bauhütte
Klangzeit 2000 event at Gargoyle Mechanique in 1990 (New York City).
After many years as a noiscian struggling to make the transition into the
art/life process, I was delighted to be invited to laminate. Laminated objects
from that event are still carried by people who attended it. This is a testament
to the lasting impact of Lamination Rituals. For me it marked the beginning
of a series of life process events, often with the laminator close at hand.
I have found no end to the variety of objects that can be laminated and no
end to the enthusiasm, interest, confusion and fun people have shown when
they are confronted with re-thinking lamination. Among items laminated during
Lamination Rituals in the past are: monkey hairs, keys, rubber bands, rice
noodles, razor blades, bubble gum, pubic hair, sponge fragments, paper clips,
leeks, foil. torn fabric, wok cooked chili peppers, hash, spit, sprouts, leaves,
bubble-wrap, french fries, pancakes, web cam stills, wax, dust, rubber and