July 9, 2015 § Leave a comment
June 28, 2015 § Leave a comment
Artist Cornelia Parker’s Magna Carta – the Wikipedia entry on the Magna Carta collectively embroidered by prisoners, judges, art world luminaries, and members of the embroiderers guild.
Cornelia Parker’s Magna Carta on view at the British Library.
June 24, 2015 § Leave a comment
“In Slowness Milan Kundera, the Czech writer, remarks that ‘there is a secret bond between slowness and memory, between speed and forgetting’…”
A history of boro, related textiles anf Japanese indigo dyeing here.
November 21, 2013 § Leave a comment
From guest artist Seyoung Yoon,
Left – Evening feelings
Right – Again, another evening
Seyoung Yoon 2013
This post will discuss parts of the Phillipe Parreno exhibition at the Palais de Tokyo.
The blogosphere can be a child of haste. I have always disliked it when people ran directly to their blogs immediately following an exhibition, especially when the exhibition lasts as long as Phillipe Parreno’s ‘Anywhere, anywhere out of the world’ at the Palais de Tokyo (October 23rd 2013 to January 12th 2014). Sometimes reading a review of an exhibition I have not seen seems like watching a movie made of trailers, some can be very satisfying and stimulating resulting in a subsequent desire to attend the exhibition, while others incite opposing repercussions. That is to say, this is neither review nor trailer, but an account of one particular moment I experienced during the aforementioned exhibition.
Parreno has a piece called Anywhere Out of the World 2000
A 3D animation movie transferred onto DVD, 4 minutes
This piece was shown inside the auditorium on the bottom floor where there is a slight slope throughout the entire room.
Following the 3D animation film, a petite young girl walked through the dark toward the center of the room. The lights turned on. Suddenly, Ann Lee was facing me, prior to this, she had only been apparent to me in her collaborations with other artists (particularly the clip of her in a Tino Sehgal’s performance someone had secretly filmed), so it was a bit disarming to see her in analog as a live and breathing entity.
She began stirring up small talk, starting by asking casual questions such as, “How are you all doing today?” She explained how she arrived there and seemed quite content in meeting those of us in the room. And I remember another question that she had asked, “Would you rather be busy or not busy enough?” Nobody answered her questions directly, including myself. She continued. I was sitting down, we were almost at eye level. When ‘the piece’ was about to finish she approached me at very close proximity and said that she had something to ask.
“Quelle est la relation entre le signe et la melancolie?” (What is the relation between sign and melancholy?)
I was at a loss of words, all thoughts dissipated in search of thought. I was probing my brain intensely for a suitable answer but the rapid pace of my heartbeat was far too distracting. Only now I realize, this process actually embodied the relation between sign and melancholy. I was looking for the right sign, in this instance, words that embraced, implied and gathered my thoughts. Like the sound silence makes when it cracks, the space between my upper and lower lips widened, “slack-jaw,” “mouth-breather.”
Ann Lee’s last words to me were, “Vous ne savez pas? Ce n’est pas grave.” (You don’t know? It’s ok.) And her speech/performance/talk was over.
Alongside my “mouth-breathing” account here are some other things I would like to share with you:
If you don’t know what these links are trying to say,
ce n’est pas grave.
July 6, 2011 § Leave a comment
“Untitled” from 2005.
“In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was “the actual experience” of making the line, adding: “It does not illustrate. It is the sensation of its own realization.” Years later, he described this more plainly. “It’s more like I’m having an experience than making a picture,” he said.” [“American Artist Scribbles a Unique Path” by Randy Kennedy, in the New York Times]
June 13, 2011 § Leave a comment
June 6, 2011 § Leave a comment
A collaboration between Dr. Howard Britton, Daniel Jackson and Simon Morris.
A Text That Destroys Itself in the Process of its Own Meaning
“Beginning with two separate texts on the work of Gustav Metzger, one black on white, one red on white, the authors Dr. Howard Britton and Simon Morris will take it in turns to read aloud pages from their work. Using Extraction, a computer programme created by the artist Daniel Jackson, words will be randomly removed, one by one, from each author’s text. 2 versions of Extraction will be running simultaneously. One will present the words from Britton’s text, ‘Gustav Metzger: a manifesto for destruction: between two deaths’, black on red. The other will present the words from Morris’s text, ‘Beyond Representation’, red on black. These will be projected onto the wall behind Britton and Morris, side by side like facing pages of a book. In the manner of a dada poetry recital, as one author reads from their text, the other author will simultaneously read aloud the words that have been randomly removed from the other text by the Extraction programme. Like a virus, or process of contagion, the aural presentation of words from one text will increasingly cover over the aural presentation of words from the other text, until meaning is completely destroyed/disappears. Extraction will aim to remove all the words in the performers text in the same time that it will take the performers to read their texts. Extraction presents the text, without the structure of their original meaning, and imposes its own order on the authors words. As the writer William S. Burroughs said: “Language is a virus from outer space.”
This action took place at the Gustav Metzger congress at the Atlantis Gallery, Brick Lane, London on 15th March 2003 press release can be read online, courtesy of Daniel Jackson
Thank you Lana Turner Journal.