PFP
A praxis of infra-ontological  en/in-fleshing and aculpable-thicker-excessive reading of 'being'.

Contact
info@pressforpractice.org

#003:

K,A,R,A,O,K,E, — O.O.P.S: Insubordinate Rhythms, ^{i. Grace, ii. Labour, iii. Psalm, iv, v,} Against the conditions of the Day, 2023

Q: “In what ways does the social environment predispose certain individuals to join delinquent subcultures?"

K,A,R,A,O,K,E, — O.O.P.S: Insubordinate Rhythms, ^{i. Grace, ii. Labour, iii. Psalm, iv, v,} Against the conditions of the Day is Ima-Abasi Okon’s second self-published project via PressforPractice. Established by the artist in 2013, PressforPractice collates, contextualises and distributes ideas that continue to develop beyond exhibitions. Specifically, for Okon, publishing is an avenue to hold the space necessary for the required reflection, steady development and generous revelations that can arise after artworks leave the gallery space.

The edition comprises new sound works and a booklet, bringing together Okon’s continued interest in seriality, multiples, value and property. K,A,R,A,O,K,E, — O.O.P.S leverages cultural methodologies deemed delinquent in their deviation from the widely internalised impulses toward fixed ownership within Western societies.

alongside-ness with-out identification²+ excess over the original value² (A-------d--------o---------r--------n) is a dub of the sound work that appeared in the artist’s 2019 show Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub at Chisenhale Gallery in London. The exhibited sound work was later acquired by Tate Britain. Floating on a loose relationship to copyright characteristic to genres such as dub and chopped and screwed music, the dub of this record was constructed by extending the acquired track’s duration by one second. Sonically, the works are identical except for their time stamps. In its one-second dub extension, the latter track is made available beyond the original work's acquisition by Tate Britain.

The vinyl’s B-side features an audio watermark produced by Paris Aden. On Third Party Vendor Redistributable Sealant: ISO/IEC 17024 Aden recalls ‘anti-pirating’ strategies employed by entertainment corporations: inserting spoken word, sound effects and/or flourishes within a commercially circulating audio file to thwart bootlegging and to prevent others from passing the work off as their own. Nonetheless, the inverse has also become true: unauthorised users of corporately owned audio files can employ audio watermarks to render their sampling illegible to copyright detectors used by sites like SoundCloud. These watermarks allow the sampled work to perform as original/unique pieces. Okon offers OnThird Party Vendor Redistributable Sealant: ISO/IEC 17024 for citation under Creative Commons licencing, inviting further ripping and sampling.

In the vinyl booklet is a reprint of the essay Against Poet Voice: The Politics of Delivery by British poet Holly Pester, from which this edition’s title is derived. Also in the booklet is a transcribed conversation between PU$$YRAP Records’ DJ Jody Simms and artist feat.ya girl, a producer of chopped and screwed music. Their exchange gives voice to Okon’s interest in the mechanisms and deployment of language as both a vehicle for self-actualisation as well as a lens through which to view delinquent practice.

Lastly, in the booklet is the Artist Transfer Agreement that outlines one example of the conditions that Okon puts in place to protect the soul of the work from

—A: Enclosures

Edited by Ima-Abasi Okon
Texts and contributions from Paris Aden, Holly Pester, feat.ya girl and Jody Simms

Side A 14' 31 min / Side B 9'14 min
Single transparent vinyl + 20 page booklet
Partial Spot High UV Varnish on Inside Out Performa 300 GSM
341 x 300 mm
Edition 200 + 16 AP + 2TP
ISBN 9781916137301

Designed by Atelier Carvalho Bernau
Copyedited by Taylor Le Melle & Jennifer Martin

Vinyl pressed in the Netherlands by Deepgrooves
Printed in the Netherlands by Drukkerij Rijser

€100+ pp
BUY HERE
Within the United Kingdom and the Netherlands. Please email to arrange international delivery.

>Buyers are responsible for any import duties<

#002:

^^^^^^^^^^^^^^^^^^^^^^^^^, 2019

^^^^^^^^^^^^^^^^^^^^^^^^^, pronounced circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, circumflex, completes the eponymous sculptural installation initiated by Ima-Abasi Okon in March 2018 as part of the group exhibition there's something in the conversation that is more interesting than the finality of (a title), which took place at The Showroom from 28th March – 5th May 2018.

The publication features commissioned texts from a number of individuals who have responded to the diacritic with their own speculative endeavours that could be framed through the lens of a circumflex (^).

Edited by Ima-Abasi Okon
Texts by Sampada Aranke, Ashon Crawley, Elizabeth Graham, Tara Langford, Karen Salt and Nina Power^†.

120 x 180 mm
204 pages
offset, softcover, acetate jacket
edition 200
ISBN 9781916137301

Designed by Margherita Huntley
Copyedited by Taylor Le Melle
Printed in Belgium by Cassochrome

€15 + pp
BUY HERE
Within the United Kingdom and the Netherlands. Please email to arrange international delivery.

>Buyers are responsible for any import duties<

^†A contribution was also sought, and recieved, from Nina Power which is not included in the publication but is available to download here.