It’s funny how, as I start to write the editor’s note, what I am currently reading extracurricularly, somehow automatically becomes fodder for the next issue. It used to be that zing citations or quotes were in the backlog or library of zing world. Now they infiltrate zing’s very existence almost as easily as ESPN, CNN, or MTV. Well this literary taste is not just white noise, it’s José Saramago to be precise, and the piece that won the ‘98 Nobel prize. Let’s meander reputations and accomplices . . .

“It takes little or nothing to undo reputations, the merest trifle makes and remakes them, it is simply a question of finding the best means of engaging the confidence or interest of those who are to become one’s unsuspecting echoes or accomplices.”
—José Saramago, Baltasar and Blimunda

11, the latest in the zing edition tradition, (and let’s give a nod here to D Eggers and his copyediting brilliance over at Timothy McSweeney’s eleven is a numerical figure rather than spelled out as it has previously been in this sentence). Nonetheless, the accomplices of zingmagazine are of the very best, now 11 issues later. There is a curatorial vision in our unvisionary approach—our trifle our letter, which comes from William Gibson, the voice of Annie Sullivan “The Miracle Worker”. And who better than the “miracle worker”/teacher of Helen Keller to be the voice or the echo for zing 11. The image on the cover comes from an advertisement for the Women’s US Army Corp from Co-Ed magazine circa ‘71, and reflects cross the pollination so much the make up of zing—for it really is the no template spirit that drives us. But there is no blindness in 11, rather dreams, very special dreams. Again Saramago, again Baltasar and Blimunda, “They all slept as best they could, each with his own secret dreams, for dreams are like human beings, bearing some resemblance to one another, but never quite identical.”

Devon Dikeou
New York, New York
1999

Sputnik is a content catalyst collective that produces Mindtrends™, a video and written documentary that profiles luminaries within the arts and sciences around the world. Currently Sputnik is in the pre-planning stages of launching an intersensorial immersive curated by artists and academics for the year 2000.

Sebastiaan Bremer was born in The Netherlands. He is a visual artist that lives and works in New York. Most recently his work was included in the exhibition “The Stroke” at Exit Art in New York. He has curated several projects in the past with Gerben Mulder under the name of “ALBUM”. Pieter Woudt was also born in The Netherlands, where he went to the Gerrit Rietveld Academy to study graphic design. In ‘88 Woudt relocated to New York, where he worked for MTV as a senior designer for five years. Since ‘94 he has his own design studio Big Bolt graphics, which on and off doubles as a gallery called Spark. In ‘99 Woudt and Bremer curated and published “Blueprint” in an edition of 200. There are still some copies left, so hurry!

Grant Watson lives in London and is a curator and editor of Victorya magazine.

Thomas Rayfiel’s book Colony Girl, is published by Farrar, Strauss & Giroux.

Bob Seng is an artist who alters readymade objects. He also creates site installations in collaboration with Lisa Hein. This project removes the ink from plastic EXIT signs so that others can enter.

AS FOUR
AS ONE
AS TWO
AS THREE
AS FOUR
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AS YOU
AS ME
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AS XY
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AS THEN
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SLEEP AS FOUR
WORK AS FOUR
LIVE AS FOUR
LOVE AS FOUR

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Kenneth Goldsmith was born in Freeport, New York in ‘61. He received his BFA in Sculpture from the Rhode Island School of Design in ‘84 and has shown his artworks in various cities around the world. He is represented by Gorney Bravin + Lee in New York City. He lives in lower Manhattan with Cheryl, Finnegan, and Babette. In addition to being editor of UbuWeb Visual & Concrete Poetry (ubu.com), he is a DJ at Freeform Radio WFMU (wfmu.org), and is a classical/experimental music critic for New York Press and other publications.

AS Bessa is an artist and writer. He lives in Brooklyn and is currently writing a book on the work of Öyvind Fahlström.