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The Intertextual Tourist Tearoom Archive

The Intertextual Tourist Tearoom Archive was originally placed in the lobby of the Palace Hotel, Luzern. It was part of a series of works developed by Zoë Dowlen. These other works were: The First Ascent of the Palace Hotel Luzern (Performance) and The Intertextual Tourists Guide to the Palace Hotel (text). The content of the Archive was always meant to be interactive and participatory. It consisted of artists work as well as chosen books and objects. By using Lines I hope to organize my research for this project in a way that expands upon the original thesis and generates a set of interactions and connections within the subject matter.

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Authors: IntertextualTourist
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Created: 04.Aug 2011
Last edited: 22.Aug 2011
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  • 04.Aug 2011
    22.Aug 2011
  • The Intertextual...
    The Intertextual...
    IntertextualTourist,
    22.08.2011
    Good Afternoon Ladies and Gentlemen and welcome to The Intertextual Tourist Tearoom Archive.
    Intertext...    13.11.2019  0
    Intertext...  The Archive   06.10.2011  12
    Intertext...  Lädeli Strasse  12.10.2011  1
  • The Archive
    The Archive
    IntertextualTourist,
    06.10.2011
    It is best to start with what is there. So I will start with the inventory of the archive and we will work from there out wards. This image shows "The Intertextual Tourist Tearoom Archive" in the lobby of the palace hotel Luzern. Some of its content responds directly and indirectly to this environment.
    Intertext...  When The Alps Cast...  12.10.2011  0
    Intertext...  The Roof Climbers...  12.10.2011  0
    Intertext...  Class Acts  12.10.2011  0
    Intertext...  Luxury and Capitalism  06.10.2011  0
    Intertext...  Albert and Lucerne  12.10.2011  0
    Intertext...  What is Art?  12.10.2011  0
    Intertext...  The Art-Work of the...  12.10.2011  0
    Intertext...  "Cross Talk"  19.10.2011  0
    Intertext...  "The Alpine Foot and...  19.10.2011  0
    Intertext...  "Tea Lecture...  19.10.2011  0
    Intertext...  "Der Bauer und der...  19.10.2011  0
    Intertext...  "Zur Faltkarte von...  19.10.2011  0
  • Lädeli Strasse
    Lädeli Strasse
    IntertextualTourist,
    12.10.2011
    On the 27th of September 2011 The Intertextual Tourist Tearoom Archive moved to the research department of the Hochschule Luzern. Tea and Scones are served every other Tuesday from 3.30 until 5 in the afternoon.
    Intertext...  Text to Event  25.10.2011  8
  • IntertextualTourist is currently writing a block here. Please wait, or tell them to hurry up! :)
  • Luxury and Capitalism
    Luxury and Capitalism
    IntertextualTourist,
    06.10.2011
    / recommended by Peter Spillmann
    Luxury and Capitalism by Werner Sombart.
    Introduction by Philip Siegelman
    Originally printed in 1913
    This edition published by the University of Michigan in 1967
  • Class Acts
    Class Acts
    IntertextualTourist,
    12.10.2011
    / found through initial research.
    Class Acts, Service and Inequality in Luxury Hotels by Rachel Sherman.
    Originally printed in 1970. This edition published by University of California press 2007.
  • The Roof Climbers...
    The Roof Climbers...
    IntertextualTourist,
    12.10.2011
    The Roof Climbers Guide to Trinity by Geoffrey Winthrop-Young. First edition published in 1900. This edition published by Orleander Press 2009.
  • When The Alps Cast...
    When The Alps Cast...
    IntertextualTourist,
    12.10.2011
    / brought at an Anglo-swiss society meeting.
    When The Alps Cast Their Spell, Mountaineers of the Alpine Golden Age. Trevor Braham. Published by The in Pinn in 2004.
  • Albert and Lucerne
    Albert and Lucerne
    IntertextualTourist,
    12.10.2011
    Albert and Lucerne by Leo Nikolayevich Tolstoy. Lucerne was first published as a short story in 1899. This edition is the Easy Read Comfort Edition published by Accessible Publishing Systems in 2008.
  • What is Art?
    What is Art?
    IntertextualTourist,
    12.10.2011
    What Is Art? by Leo Tolstoy. Translated by Alymer Maude and introduction by Vincent Thomas. First published 1896. This edition was published by Hackett publishing Company inc in 1996.
  • The Art-Work of the...
    The Art-Work of the...
    IntertextualTourist,
    12.10.2011
    The Art-Work of the Future by Richard Wagner. Translated by William Ashton Elli. Originally published in 1849. This edition was published by DoDo press in 2008. (Slight water damage and black and white image attached to front cover)
  • "Cross Talk"
    "Cross Talk"
    IntertextualTourist,
    19.10.2011
    / Pippa Gatty
    http://pippagatty.com/
    I dreamt about finding some glass lenses which when I looked through them allowed me to slip my feet under the carpet without the carpet moving ‐
    almost as if I had managed to get in between the planes of focus that you see when looking through a pair of binoculars or a telescope.As a way of slipping into the reality that exists on the other side of glass I have interfered with the two dimensions available through painting directly onto the glass and through slipping thread and paper figures into the frame.
    Crosstalk is an electronic phenomenon by which the signal transmitted from two circuits or channels cross over and interfere with one another. I think this is where my dream comes in and the mountaineering / interplanetary references within the plates.
    Pippa Gatty (b. London) completed her MA Fine Art at Chelsea College of Art and Design in 2008. She won the Red Mansion Art Prize 2009 which included a residency in Beijing. Recent exhibitions include ’Measure and Purpose’ Surface Gallery Nottingham (10) ‘Artsway Open’ (09-10))’Throw’em out, they break my heart’ at SE8. (09). ‘These Here United States’ ‘The Master Piper’ (09). Marmite Painting Prize Studio 1:1.(08) Salon 08, Vinespace. ‘Valley Argentina’ Subway Gallery (07)(solo show). ‘Future Map 2007. The Arts Gallery’. ‘Pastoral Sliders’ (07) Bromptom Windows Project She conceived, set up and now co-curates the Propeller Island roaming arts events. Pippa Gatty lives and works in London.
  • "The Alpine Foot and...
    "The Alpine Foot and...
    IntertextualTourist,
    19.10.2011
    / Greg Lucas
    http://greg-lucas.blogspot.com/
    The Alpine Foot and the Climbing Arm.“To begin with the foot of an infant, we notice that the foot, like the hand, is all adapted for climbing. Dr. Luis Robinson has shown that the infant’s handgrip
    is so strong, that the whole weight of its body can be borne by the prehensile power of one hand.”1
    ‘The Alpine Foot and the Climbing Arm’ connects – fingers to toes as were ‐ two somewhat eccentric and idiosyncratic climbing texts: “Alpine Notes and the
    Climbing Foot” (1896), by the Victorian surgeon and Alpinist, George Wherry, and “Master Of Rock: The Biography of John Gill” (1977), by Pat Ament. Both works were much ridiculed (in the climbing press) at the time of publication, and the actual carry‐over into climbing, from Wherry’s findings on the ‘Alpine Foot’ and Gill’s practice of one‐arm, one‐finger pull‐ups, is virtually nil.
    In the late 1890s Wherry ‐ an amateur mountaineer, surgeon by profession ‐ set out to prove that the feet of Alpine guides were somehow especially physically developed (evolved) to cope with the slopes! He carried out experiments ‐ made measurements, took photographs ‐ made tracings even; collected an enormous amount of data concerning the feet and ankles of some of the most famous climbing guides operating in Switzerland during the Victorian age – the golden era ‐ of Alpine development. Wherry was friendly with Coolidge and Whymper, and also made some of the earliest studies of frostbite and mountain sickness. And the surgeon/mountaineer’s research into the ‘climbing foot’ wasn’t only confined to climbing guides. Through a comprehensive study of the feet of
    newborn babies and infants fathered by climbing guides, Wherry produced evidence to support Darwin’s still at the time highly controversial “Theory of Evolution”: not only that climbers descended from climbers (the ‘climbing foot’ was passed‐on, generation to generation) but that we, all of us, are descended from apes. John Gill, six‐foot two, a hundred and eighty pounds, and able to do a one‐arm, one‐finger pull‐up, single‐handedly invented what is now known as ‘bouldering’. The publication, in 1977, of Pat Ament’s richly illustrated biography of Gill coincided with my introduction to climbing (on the small rocks around the campsite in Saas Fee), on a family holiday in Switzerland. The image of Gill, a mathematics professor, suspended by only his middle finger, left an indelible fingerprint on my retina. I have gone on to photograph myself doing a one‐arm, one‐finger pull‐up, almost every day since ‐ 33 years worth; the age Jesus was when he first performed the crucifix.
    1 “Alpine Notes and the Climbing Foot”: G. Wherry, Macmillan & Bowes, Cambridge, 1896, p.121.
    Greg Lucas (b.1964) is a photo‐artist and Pataphysician whose speciality is afront room slideshow ‘from the other side’. His frenetic monologues explore and exploit how everyday events (past and present) can be connected by
    photographic facts (not painstaking fictions). Lucas has presented solo slideperformances, exhibited image/text works and been published widely, since
    1987: The Photographers’ Gallery, London, ICA, London, Arts Theatre, Soho, Edinburgh Festival, Gallery Photography Dublin, Site Gallery Sheffield, ZoneGallery, Newcastle, Norwich Arts Centre. Along with Ruth Blue he performed and broadcast a “SlideShow for the Radio” as part of John Peel’s 1998 Meltdown Festival, from London’s South Bank Centre. He’s also a regular performer at several universities throughout the UK. His monograph, Mrs Sharpe’s Cracks, discusses his conception in a canoe, love of lard, and how a love of lard and his
    84 year old neighbour’s cracks (she was a widow) led to the discovery that he was almost killed by the largest meteorite to ever land on the British Isles ‐ it
    landed on Lucas’s roof on Christmas Eve in 1965, when he was 1 ‐ which in turn led to him climbing the aging widow’s house, unbeknown to her, even through she documented it photographically. More recently, a speculative image‐text “The Floating Photographer and the Mermaid’s Oars”, for Glen Jamison’s book “Suspicions Of A Peninsula Town’, YH485 Press, 2009. David Brittain interviews
    Lucas, for “The Missing Picture” in the latest edition of “Source” (no. 62), summer 2010. Greg Lucas lives and works in London, and teaches on MA Photography at De Montfort University.
  • "Tea Lecture...
    "Tea Lecture...
    IntertextualTourist,
    19.10.2011
    / Emma Robertson
    Tea Lecture Performance
    Emma Robertson
    The performance of this lecture involves the positioning of a cassette recorder on a stage in relation to a microphone and the playing of the audio that is on display here. The performer would then step down from the stage and put on an apron to serve the audience tea and
    biscuits from a wheeled trolley.

    This performance was made into an object for the purpose of this archive. When the lid of the teapot is lifted the audio track from the performance begins. A small voice comes from the tea pot, telling us about the history of tea. Many thanks to Marie-Eve Jetzer for supplying the teapot and Simon Marfurt for making the mechanism.
    Emma Robertson completed her MA in Fine Art at Chelsea College of Art and Design in London where her next door neighbours included some of the greatest artists in British history. She now works very long hours in a nursery in North West London and misses spending lunchtimes restraining herself from touching the backside of Jacob’s Angel.
  • "Der Bauer und der...
    "Der Bauer und der...
    IntertextualTourist,
    19.10.2011
    / Claudia Kuebler
    http://www.claudiakuebler.ch/
    Der Bauer und der Löffel
    Der Löffel gehörte einem alten Bergbauern. Er war hölzern und die Kanten weich geworden von den Jahren. Die Zunge hatte sie abgeschliffen, wie die Bäche die Steine. Der Bauer hatte den Löffel geschnitzt, lange her, jetzt war das Holz dunkel, fast schwarz und in der Mulde, dort wo der Stiel in das kleine Löffelbecken läuft, war das Holz gespalten. Der alte Bauer hatte auch anderes Besteck, aber wenn keine Gäste da waren, dann ass er sämtliches Essen mit seinem Löffel, denn eigentlich brauchte er nichts weiter.
    Denn eigentlich braucht man nichts weiter, als einen Löffel. Einen vollen Löffel.
    Der Bauer kannte seine Berge gut, sehr gut. Es waren eine handvoll Steine, ein paar Gipfel und Tiere die seine Welt ausmachten. Obschon er alleine lebte, seit Jahren und Jahrzehnten, nahm er jedesmal, wenn er sich zu Tisch setzte, seinen Hut vom Kopf und legte ihn neben sich. Er beugte sich tief über den Teller.
    Der Bauer lebte an der Grenze, in dem Tal das die Schweiz verlässt und nach Italien führt.
    Das Meer hatte er nie gesehen.
    The Farmer and the Spoon
    The spoon belonged to an old mountain farmer. It was wooden and the edges had been smoothed over the years. The tongue had worn it away, as the streams the stones. The Farmer had carved the spoon, long ago, now the wood was dark, almost black and in the mould, where the stem runs into the basin of the spoon, the wood was split. The old farmer had other cutlery but when there were no guests around, then he ate all his food with his spoon, since actually he didn’t need anything else.
    Since actually one doesn’t need anything else but a spoon. A full spoon.
    The farmer knew his mountains well, very well. A handful of stones, a few peaks and animals were what made up his world. Even though he lived alone, for years and decades, every time he sat down at the table he took off his hat from his head and laid it next to him. He bent down low over the plate.
    The farmer lived on the border, in the valley, which exits Switzerland and leads to Italy.
    He had never seen the sea.
  • "Zur Faltkarte von...
    "Zur Faltkarte von...
    IntertextualTourist,
    19.10.2011
    / Lorenz Schmid
    http://www.lorenzschmid.ch/
    Zur Faltkarte von Ludwig Pfyffer
    Als ich mich für mein «Parheliorama» für den Schweizerhofquai durch die Literatur der Panoramendarstellung las, stiess ich in einem Buch auf eine Reproduktion einer Karte, welche mir bekannt vorkam. Tatsächlich fand sich ein Original der Abbildung in meiner Bibliothek, die deshalb so reich ist, weil ein Vorfahr Bibliothekar war. In unseren Regalen finden sich alte Karten von den entlegensten Winkeln dieser Welt und warten darauf, bereist zu werden. Das besagte vergilbte Faltblatt steckt in einem Schuber, der inwändig mit uralter Zeitung verkleidet ist. Auf der Etikette lese ich: Xavier Meyer, «libraire et marchand d`estampes à Lucerne». Er hat Pfyffers Zeichnung 1836 als wunderbare Faltkarte mit dem Titel: «Panorama, oder Zirkel-Aussicht vom Rigiberg» (französischer Titel: «guide des voyageurs sur le mont rigi») herausgebracht. Es handle sich um eine Zeichnung eine gewissen Herrn Ludwig Pfyffer von Wyher, der dem Besucher des Gletschergartens als Autor des berühmten «Reliefs der Urschweiz» in Erinnerung bleibt (auch Goethe hatte sich einst über diese Miniatur gebeugt)
    Eines schönen Tages des vorletzten Jahrhunderts also erklomm Herr Pfyffer den Rigi und hielt, oben angekommen, die Aussicht fest, die sich ihm bot. Die Perspektive, die er dabei wählte, versetzt den Betrachter in die Wolken: der Blick fällt senkrecht auf eine Wiese. Von ihr aus hebt er sich zirklisch gleichermassen nach allen Richtungen, so dass der ferne Horizont sich zum Kreis schliesst. Ein Fischauge hoch über den Köpfen.
    Das beiliegende Faksimile habe ich auf Photo-Rag gedruckt, auf der Rückseite ergänzt durch ein kleines «Parheliorama», das nun für einige Tage die kleine Obelisken bestandene Kanzel am Schweizerhofquai in einen abgründigen Aussichtspunkt verwandelt, über welchem rätselhaft und unergründlich wie eh und je Nebensonnen leuchten. Zur Zeit Ludwig Pfyffers jedenfalls müssen sie zahlreich am Himmel erschienen sein: sie durchziehen die Werke der Deutschen Romantik, und lassen in der Erinnerung einen regenbogenfarben schillernden Bogen. Die beiden Karten führen unseren Blick: von oben herab in die Tiefe und die Weite des Raums die erste, nach oben hin, wo die Gedanken sich an Kristallisationskeimen ausfälen, die zweite.
    Lorenz Schmid
    1982 geboren in Aarau. Ab 2004 Studium in der Fachklasse Bildende Kunst an der Hochschule für Gestaltung und Kunst Luzern, Diplom 2008. Im Winter 2009 fotografisches Praktikum in Rovaniemi, Finnland. Frühjahr 2009: Konzept und Realisa-tion der Wanderausstellung «Creativity under given conditions» in Südchina. Gegenwärtig im Studiengang «Master of Arts in Public Spheres» in Luzern.
    Ausstellungen:
    2005 «Hommage à qch pour qn», Galerie Goldenes Kalb, Aarau.
    2006 «12 mal frisch», Erfrischungsraum, Luzern.
    2007 «Luzerner Druckgrafik», Galerie Billing Bild, Baar.
    2008 «Werkschau 08», Turbine Giswil, «Förderpreis der Nationale Suisse», Kunstmuseum Baselland, «Venustransit», Galerie Billing Bild, Baar.
    2009 «Artificial night», Lapin Yliopisto, Rovaniemi, Finnland. «Creativity under given conditions», Kunming Arts Institute, Yunnan; sowie im Tank Loft, Chonquing, Guangdong, China.
    «Kunming mermaid», Werkstattgalerie, Aarau.
  • Text to Event
    Text to Event
    IntertextualTourist,
    25.10.2011
    The important development in this phase of the Intertextual Tourist Tearoom Archive is the notion of the ritual of afternoon tea. The inferstructure not already being in place it is necessary to invent it and to perform it.
    Intertext...    19.05.2014  0
    Intertext...  25th October 2011  28.11.2011  0
    Intertext...  November 8th 2011  28.11.2011  0
    Intertext...  27th September 2011  28.11.2011  0
    Intertext...  11th October 2011  28.11.2011  0
    Intertext...  December 6th 2011  10.01.2012  0
    Intertext...  November 22nd 2011  10.01.2012  0
    Intertext...    19.05.2014  0
  • 27th September 2011
    27th September 2011
    IntertextualTourist,
    28.11.2011
    ITTA 01 27th September 2011

    The kitchen was to be the scene for the first Intertextual Tearoom at Lädelistrasse, simply because the rooms were unfortunately double booked. After much preparation and furniture moving The table was set. Surprised to see such a display a few cautious heads peeped through the door and where invited to join. I think a total of 6 people all in all sat down and took tea with us. The conversation was also stimulating- Julie had brought the catalogue for the exhibition on Chinese landscapes at the KKL. From an art historical point of view she was quite depressed with the "imperial" form of curating. That it was more like a touristic look at the tradition of landscape painting as the works all come from the collection of Sigg. Julie recommended to look at the philosopher Gayatri Chakravorty Spivak in relationship to post colonial theory. She also forwarded a text from Interachive and recomended this book for the archive. Also recommended by Axel was the artist group The Long Now.

    I see this work as having a small but regular presence to open communication in the off space the times between the concentration of academic work.
  • 11th October 2011
    11th October 2011
    IntertextualTourist,
    28.11.2011
    IITA 02 11th October 2011
    Again we are in the kitchen but as someone pointed out maybe this space is interesting because it is surprising. In two weeks time we will be in the lounge room so we will see if this changes the attendance. This time a group of Master design students were having a meeting and in their break they came into the kitchen. It took a little persuasion to convince them that it was ok to sit down and have tea. But once they did they started to enjoy the scones and cucumber sandwiches. I explained what the project was about. It was difficult to get them talking and i didn't want to lead them anywhere i just wanted them to find their own way. After the break was over they all left politely and thanked me for the tea. The tea room was empty... so i continued in my other role as archivist and scanned a chapter of Sombart. Bettina Minder came in and sat down for a tea. we talked a little about the project and then she talked about working on a play of the Magic Mountain by Thomas Mann. The play was in Zurich and was put on by a group called " You Lucky People" the director was Karin Heberline and she and Bettina often worked together between Switzerland and London. A late arrival and many more recommendations....
  • 25th October 2011
    25th October 2011
    IntertextualTourist,
    28.11.2011
    ITTA 03 25th October 2011
    It was a quiet tea time, with much time for contemplation between pouring. The change of venue did not bring more people and this time the conversation consisted mainly of explanations of the project. However I still believe in the quiet presence of the archive. I think this time in Lädelistrasse is a good opportunity to experiment. My question is How can I bring the texts to life and really focus on exploring the content ?
  • November 8th 2011
    November 8th 2011
    IntertextualTourist,
    28.11.2011
    ITTA 04 November 8th 2011
    Full House in the Tearooms!
    The conversations and tea flowed and scones and concepts where consumed. I had brought with me chapter 28 from The Man Without Qualities. Ronny and I discussed the public act of creation in a private space. That although the work may never enter the public sphere that the act of making the work was already public because the audience or potential audience is in mind. "Maybe the moon effects the scones" says Ronny I will take extra note of the phase of the moon during my fortnightly scone making. We didn't realize that it was all there in chapter 28 until later.
  • November 22nd 2011
    November 22nd 2011
    IntertextualTourist,
    10.01.2012
    Some visitors from China popped in unexpectedly. They where staying at the Palace Hotel. I explained my project and showed the video footage of "The Ascent" . They tried the scones and tea. "This ia also art" one of our visitors exclaimed " That I will digest this cake that you have made"
  • December 6th 2011
    December 6th 2011
    IntertextualTourist,
    10.01.2012
    Tea for two: Today we only had two visitors but the tea flowed and the conversation and in the end a great many things where exchanged. One after the other.
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    IntertextualTourist,
    19.05.2014
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    IntertextualTourist,
    19.05.2014