
Ryan Gander
Originally created for the Zoo Portfolio 2005, published by Archeus, Gander's work Mostly English; not too English is an stand-alone excerpt from his, as then unfinished, conceptual novel. It is a screenprinted multiple on two found paperback end-papers. Gander's story works are discussed in Frieze Magazine Issue 86, October 2004 by Mark Beasley who recognises that Gander's written yarns 'employ gentle reappropriation' and place 'the story before the facts'.
'Ryan Gander is a storyteller, a teller of tales. For some time now I’ve been thumbing through the pages of a book compiled by Gander and designer Stuart Bailey, entitled The Appendix: A Translation of Practice (2003). The publication is a beguiling attempt to present a diffuse and eclectic practice, one that places the story before the facts. A wilfully disparate assemblage of concerns and interests, its contents range from the perceived failure of Utopian Modernism to the individual over the mass, from material versus effect to the disturbing appeal of brown corduroy. Ideas and manifest projects spin out of control, delivered on the page and in the margins of the societal everyday.'
Originally created for the Zoo Portfolio 2005, published by Archeus, Gander's work Mostly English; not too English is an stand-alone excerpt from his, as then unfinished, conceptual novel. It is a screenprinted multiple on two found paperback end-papers. Gander's story works are discussed in Frieze Magazine Issue 86, October 2004 by Mark Beasley who recognises that Gander's written yarns 'employ gentle reappropriation' and place 'the story before the facts'.
'Ryan Gander is a storyteller, a teller of tales. For some time now I’ve been thumbing through the pages of a book compiled by Gander and designer Stuart Bailey, entitled The Appendix: A Translation of Practice (2003). The publication is a beguiling attempt to present a diffuse and eclectic practice, one that places the story before the facts. A wilfully disparate assemblage of concerns and interests, its contents range from the perceived failure of Utopian Modernism to the individual over the mass, from material versus effect to the disturbing appeal of brown corduroy. Ideas and manifest projects spin out of control, delivered on the page and in the margins of the societal everyday.'
Ryan Gander