Pentiments is happy to offer a uniquely modest document of contemporary Fluxus homage by Finnish artist Rasmus Östling. For this work, Östling paid visits to early Swedish Fluxus member Bengt af Klintberg (best known for his booklet The Cursive Scandinavian Salve published by Dick Higgins’ Something Else Press in 1967) with a sound recorder in hand, and what has resulted is a text-sound work that aims to inaugurate the nascent genre of “Archival Music,” defined by Östling as “Music that has the ultimate purpose of being archived. Archival material, which in this case is music. Emerging from personal archives, ending up in a folder as a form of documentation.” The work also takes the more ostensible form of a genial conversation of reminiscence about the Fluxus canon by which it is expressly influenced, and as such, it may be of particular interest to those who have enjoyed the archival releases of yore comprised of similarly prosaic regalings by such experimental luminaries as Ben Patterson, John Cage, Charlotte Moorman, George Maciunas and those related. This is one for the history books, in a sense that has found the self-awareness long due to it.

In an edition of 50 copies with 12-page booklet including a full transcription of the audio contents and texts by Rasmus Östling and early Fluxus member Ken Friedman. Translated by Hugo Strandberg, designed by Tom Backström and mastered by Sean McCann.