TITLE(date) 001-005.

THIS instance of art contains texts with opportunistic narratives created from artwork titles, each with its own imagery telling its own story, referring to known or mostly unknown works of visual art. Some of the text is based on existing private or public art collections. One text is based on an online open call to create a collaborative title collection. Combined in one file it is an archive of archives, which in this case is materialised as PDF and in book form. The images are from the PDF file, which is also published as a print on demand (POD) hardback book. TITLE(date) uses a font by the artist (SymLogiDIN) which incorporates words within the capitals of the individual letters. By doing so it adds another voice to the text. A voice that intersects with the original text and by chance creates an alternative narrative. The font takes account of the difference between its digital and visual manifestations. In its printed or visual state, only the human reader sees the added words within the letters. In its software state (as a truetype font file, or PDF file for instance) the added words within the letters are 'invisible' because here the letter 'A' is only coded as points and lines creating the glyph 'A', for the font SymLogiDIN.

THE PROJECT. The project is the actual art work, which I call a dispersed object. TITLE(date) 001-005 is one of its manifestations, which in turn has multiple formats or platforms. This project uses digital and analogue technologies (software, paper and books) and various networks (social and the internet) to disperse art objects differently. The TITLE(date) project is dispersed as an archive, as books, as font software and sound files. Each platform shows different aspects of the project. As an artist's archive it re-imagines archives. Personal or public archives are reactivated by opening and reconstituting, republishing, redistributing it. The project makes the artist's archive available for reading and other ways of enactment. The use of the SymLogiDIN font creates a symbiotic entity between my text and the host text, and thus the work disperses both as a hybrid. It is not only a symbiotic entity on the level of text, but also on the level of archives or databases. The source archive(s) and the artist's archive cohabit online, sometimes at exhibitions they co-exist within a gallery. The internet and social networks distribute, collect and archive. This ongoing project persists as the search engines allow users to find and collect the multiple instances of work or representations of it archived here and there. Rhizome's Artbase is one of the places where instances of the project are archived. In its current form the Artbase is still an archive based on discrete objects. It is impossible to archive the project, because both objects and representation of an exhibition fail to archive the dynamic and temporality of the ongoing dispersal of this project. One can only emulate it by collecting instances into an 'exhibition' which might regenerate the performance of instances of this piece together, and in the process re-dispersing it.

SOURCE MATERIAL. All titles are from actual artworks and/or actual art collections. Online title collection in collaboration with Anon, Raffaella Avolio, Eskild Beck, Pippa Blake, Sue Brightman, Katherine Burdon, Osvaldo Cibils, Niamh Clarke, Nan Cole, Adrienne Der Marderosian, Topp & Dubio, Romain Dumaine, Karen Eames, Susana Lopez, Sherri Irvin, Yvonne Jones, Asaki Kan, Anna Kautenburger, Adam Kelly, Irene Kunst, Thom Lewis, Yuri Lunacharsky, Chris Mann, Margaret Marks, Paul Matosic, Deborah Mitchelson, Rajesh Patil, Rabhia Saeeda, Anastasia, Savinova, Vijit Sharma, Jože Šubic, Janice Thwaites, Marielle van Rijn, Maria Veronique, Rebecca Wild. The art collectors with whom I collaborated wish to remain annonymous.