Thursday, October 29, 2020
Dylan Yan - 6 Ft
For my project, I wanted to focus on the idea of social distancing in public during this pandemic. I will construct a wearable art piece that has a large ring and measures to be 6 feet in radius which surrounds my body. I will take this piece into crowded spaces in public and demonstrate the boundaries at which we should stand to keep a safe distance. By bumping into people and getting their reactions, it will show myself as being the safe one, while revealing how many people are not following safety protocols.
Title (didn't decide yet) - Joo young Jung
I'm going to make a hole on the face mask and attach the hole with straws (three or four).
hoop petticoat will be the base for the balloon cape.
balloon cape inspiration:
the flower cape from the movie named Midsommar.
going to blow the balloons with the straw attached to the face mask and going to cover the petticoat with "the" balloons.
Performance:
I'm going to show the process of making the balloon cape. I'm going to blow the balloons in several places: my room, bathroom, backyard, in the car, restaurant, coffee shop (outside), at the park.
As the place changes, the hoop petticoat will be covered with balloons. In the last scene, I'll take off my mask and pop all the balloons, producing a scene that comes out of the balloon cape.
Rendezvous and Imprints
Rendezvous and Imprints
by Rowan
My project will be conducted along the trails and sidewalks around Gainesville. My chosen paths reference my imprint in the city, specific to the areas I visit regularly. The items and rubbings collected will reference the people in these spaces that occupy my space but I have no connection to and through the objects gain a deeper connection to these spaces.
Items will be collected pertaining to memory, time, and has a trace of a story. These items will be collaged on paper, with drawings on the background, rubbings of Gainesville infrastructures (manholes, plaques, etc.), and some maps of the walks taken along Gainesville.
There will be ten collage pieces that accompany maps of the walk. The pieces will be one artwork, all referencing the experience of the process. The compositions of the collages will be influenced by the objects so there will be an aspect of spontaneity.
Wednesday, October 28, 2020
Mimi Diep - Reconcile Solitude
Sketches of what the final suit should look like
It will be entirely made out of fabric
Tuesday, October 27, 2020
Devin Ozmon Mask Life
For my Project, I will alternate between collecting and distributing masks in downtown Gainesville. I will wear a “uniform” that matches the surgical masks. I will also have a box made with/covered with masks. On the days that I will be distributing masks, I will hand out masks that each have a unique fact stamped on the front regarding COVID-19 and respiratory health, as well as an informational card with contact information. On the days that I collect masks, I will wear the same uniform and wear gloves to safely pick up the discarded material
2319
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2319
For this project I wanted to focus on the current pandemic particularly the masks. Being that COVID is a virus that has killed many people it should be treated as a biohazard. As part of Wanderlust I will create a large scale mask and dress up in a hazmat suit to interact with the mask. It will involve me sectioning off areas as if it were a contaminated zone and possibly other interactions as discussed today.
Tuesday, October 20, 2020
Francis Alÿs
Francis Alÿs Sometimes Making Something Leads to Nothing video
Francis Alÿs Reel/Unreel, 2011 here
In Francis Alÿs’s video REEL-UNREEL, the action takes place along the bare cityscape of Kabul, Afghanistan. The cameras follow a reel of film as it unrolls through the old part of town—pushed by two children, uphill and downhill, like a hoop, inspiring an improvised narrative. It’s an example of “doing/undoing,” Alÿs says. And that interplay became the axiom of the film.
REEL-UNREEL was made in collaboration with filmmaker Julien Devaux and architect Ajmal Maiwandi in 2011, and it touches on the multifaceted, open-ended nature of Alÿs’s art, his social and political concerns, his appreciation of film itself, and his fascination with children’s games. (Alÿs has a 13-year-old son.) It was shown earlier this year in a chilly white viewing room inside David Zwirner gallery in New York, where Alÿs and I met to talk about his practice.
Hanging in neighboring rooms were many mostly small drawings—of people and landscapes, some with color bars (in the style of TV test patterns) painted on top of them. These bars, often done later than the diaristic sketches underneath them, block the image, as if to distance their author from the memory of his experiences, and also to leave room for interpretation.
He made the drawings, he says, to keep in touch with the film when the crew wasn’t shooting. “Eventually,” he explains, “I found it very difficult to represent what’s going on in Afghanistan. It’s not easy to translate the experience of being there—it’s very conflictive in the sense that you can’t help being seduced by the place and the people.” He found that “painting color bars is a kind of take on a Bruce Nauman expression, ‘bound to fail,’” he says. “It was my own kind of material way of expressing my frustration and recognizing that in any kind of representation I was going to fail somewhat.”
Like almost all of Alÿs’s projects, REEL-UNREEL was founded on a performance or action, and from it emerged a range of related works—from hand-drawn animation loops to small sculptures, paintings, and drawings—which Alÿs sells to support himself and his larger projects.
Reverend Billy exorcizes BP at Tate Modern
Reverend Billy video here
An exorcism of the evil spirit of BP was performed in a special service in the Turbine Hall of the national gallery of international modern art. The Reverend Billy had an oil-like substance dramatically poured over his white suit by his gospel choir before being escorted out of the building. The gospel choir sung choruses of "Tate takes money from BP, and BP's money is the devil."
The event was brought to Tate by five different UK-based groups - Liberate Tate, UK Tar Sands Network, London Rising Tide, Art Not Oil and Climate Rush - all of which have staged multiple performance interventions and protests at Tate, part of a growing movement to rid public arts institutions from oil companies with negative social and environmental impacts all around the world.Harrison and Wood
Harrison and Wood video here and here
Bristol-based duo Paul Harrison and John Wood could be described as an art-world equivalent to Laurel and Hardy. In this film the artists invite TateShots to meet them at their studio.
Their videos, showing their dead-pan antics as they dangle precariously from a ladder, slide on office chairs around the back of a moving van, and submit themselves to a drenching from dozens of watering cans, are both hilarious and thought provoking.
Ryan Trecartin Interview: The Safe Space of Movies
Ryan Trecartin - The Safe Space of movies Interview here
Step inside groundbreaking video artist Ryan Trecartin’s surreal universe, which has been described as a place where “horror movies meet reality TV.” In this comprehensive video, the leading figure of a new generation describes his movies as a “safe space,” where you can explore dubious ideas or characters. “It doesn’t have to be a statement, it can be a landscape of opportunities, of thought and invention rather than answers.”
Trecartin’s first movie project was in a small farm town, where he filmed a weird ritual, where college students would torment each other in various ways. This was in 1999 and people’s relationship to the camera was quite different from now, where social media and the ability to stream has added new layers to it: “When people got comfortable with it they just started narrating what they were doing. There wasn’t this sort of meta-savvy relationship to it yet.” Looking at this old footage, Trecartin is stricken by how much our relationship to the camera has evolved, particularly rhetorically: “People always think that the work is about the internet and social media, but I think it’s more about how our behaviour has changed, and our language skills, and what our tools are, and our understanding of ourselves and our bodies and what the potential inventive space of that can be in relationship to our humanity as we grow these extensions of ourselves.”
When Trecartin flipped the LED screen of the camera – in a time where YouTube had not yet set off – people reacted to the way the actors were constantly looking into the camera, doing things that are natural now, where people are aware of “body language as a collaborator of the spoken word”. The artist wanted to explore the different behavioural modes that were emerging and to make a movie where the group dynamics are more important than the individuals. Moreover, he wants people to read his movies like poems and use their own understanding of the world as a personal filter to interface with them: “It’s about the language, and the humanity and the emotions and the exchanges, the interactions and the moments, and you have to read those.”
Ryan Trecartin (b. 1981) is an American video artist. He has had solo shows at several institutions, including the Museum of Contemporary Art in Los Angeles, Kunsthalle Wien in Vienna, The Power Plant in Toronto, Musée d’Art Moderne de la Ville de Paris in Paris, MoMA PS1 in New York and Astrup Fearnley Museet in Oslo. In 2017 he was part of the exhibition ‘Being There’ at the Louisiana Museum of Modern Art in Denmark with the installation ‘Lake Anticipation’ made in collaboration with his creative partner since 2001, Lizzie Fitch. He has also participated in prestigious exhibitions such as the Berlin Biennale 2016, the Venice Biennale 2013 and the Whitney Biennial 2005 where he was the youngest artist to be included. Trecartin is the recipient of several prizes such as the Jack Wolgin International Competition in the Fine Arts and a Heritage Pew Fellowship in the Arts. Trecartin currently lives and works in Athens, Ohio.
Ryan Trecartin was interviewed by Kasper Bech Dyg at Astrup Fearnley Museet in Oslo, Norway in February 2018 in connection with the exhibition Lizzie Fitch/Ryan Trecartin.
Camera: Rasmus Quistgaard
Produced and edited by: Kasper Bech Dyg
Cover photo: From ‘Comma Boat’ (2013) by Ryan Trecartin
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2018
Supported by Nordea-fonden
Marina Abramović exercises to become Superhuman
Marina Abramović Exercises reading here
Over the course of her performance art career, Marina Abramović developed a signature method of techniques that would allow her to reach a higher plane of consciousness required for grueling, endurance-based work. She researched various spiritual and cultural realms, oftentimes spending time with people such as the aboriginal tribes of Australia or Chinese Buddhists. Her learning lent Marina a superhuman sensibility that included the ability to sit for hours on end without moving, to conjure laser sharp focus while spending extended periods of time in repetitive action, or to withstand intense self-inflicted pain.
In The Artist is Present, 2013, she employed the culmination of a career’s worth of her method to be able to sit physically present over many days while still intimately connecting with each and every person who came to sit with her. Although she was physically exhausted and mentally depleted by the end of the performance, viewers had no visible hint of her suffering throughout the piece. Marina coined her practices the Abramović Method, an exploration of being present in both time and space, incorporating exercises that center on breath, motion, stillness and concentration. She has since shared it via workshops with both aspiring artists and non-artists looking to reach a higher plane of existence.
Thursday, October 15, 2020
Alex Villar
Alex Villar videos here
Born in Brazil '62, based in New York, MFA from Hunter College '98 and Whitney ISP fellow 2000. Work draws from interdisciplinary theoretical sources; it employs video, installation and photography. Individual and collaborative projects are part of a long-term investigation of potential spaces of dissent in the urban landscape; it has often taken the form of an exploration of negative spaces in architecture.
Selected exhibitions: New Museum, Mass MoCA, Drawing Center, Exit Art, Stux Gallery, Apexart and Dorsky Gallery in New York; Institute of International Visual Arts in London, Museu de Arte Moderna in Sao Paulo, Galleri Tommy Lund and Overgaden in Copenhagen, UKS in Oslo, Contemporary Art Centre in Vilnius, the Goteborg Konstmuseum in Sweeden, Galerie Joanna Kamm in Berlin, Signal in Malmo, Galeria Arsenal in Poland, Lichthaus in Bremen and Halle für Kunst in Luneburg. Published articles and reviews in ReMarx, Text zur Kunst, Tema Celeste and New York Times.Tuesday, October 13, 2020
Robin Rhode
Robin Rhode Art 21 video here
Robin Rhode and his team of assistants create vibrant, temporary outdoor murals that serve as backdrops for photographed performances. Working in the neighborhood where he grew up, a mixed-race community plagued by drug and gang wars, Rhode leads a team of local young men in creating a new mural and shares his hopes for what participation in an art project can offer. Recounting a career that began on the street in newly post-apartheid South Africa and now extends into the international contemporary-art scene, Rhode engages his “born free” collaborators in a performance at the Johannesburg Art Fair while considering intergenerational socio-political forces and the ways that play, humor, and youth culture inform his work.
Kader Attia Inspiration/Conversation
Kader Attia "Inspiration/Conversation” video here
"Inspiration/Conversation,” shows two black men, face to face, blowing into an empty plastic bottle. “It was the sound of all of Africa wheezing,” Marcel Brient, a French art collector, said in an interview. “Kader’s work fits in the tradition of minimal, conceptual work, but with a French touch that is both tender and rigid.”
Thursday, October 8, 2020
Art21 Allora & Calzidilla, Nick Cave, and Kimssoja
Kimsooja video here
Kimsooja’s segment opens with a series of videotaped performances of the artist in crowded cities, her form acting as an unmoving axis on the horizon. Comparing her body to a needle that threads through space and time, she explains that her conceptual “system is very much rooted to the practice of sewing.”
The segment focuses in depth on two recent site-specific works: an installation of 2,000 fuchsia lotus lanterns with a soundtrack of Tibetan, Gregorian, and Islamic chants, and later, an intervention at the Crystal Palace in Madrid in which rainbow-colored sunlight, diffused through diffraction grating film applied to windows, is reflected in a mirrored surface applied to the floor while a pre-recorded performance of the artist’s rhythmic breathing fills the space.
Says the artist on her ethereal and genre-bending work: “My intention is to reach to the totality of our life in art.”
Nick Cave portion of Art21 "Chicago" segment, video here
Nick Cave creates “Soundsuits”—surreally majestic objects blending fashion and sculpture—that originated as metaphorical suits of armor in response to the Rodney King beatings and have evolved into vehicles for empowerment. Fully concealing the body, the “Soundsuits” serve as an alien second skin that obscures race, gender, and class, allowing viewers to look without bias towards the wearer’s identity. Cave regularly performs in the sculptures himself, dancing either before the public or for the camera, activating their full potential as costume, musical instrument, and living icon. Cave’s sculptures also include non-figurative assemblages, intricate accumulations of found objects that project out from the wall, and installations enveloping entire rooms.
Allora & Calzidilla video here
“It’s kind of an excuse to research something,” says Jennifer Allora of the work with her collaborator since 1995, Guillermo Calzadilla. “It’s this chance to learn more about something in the world and be able to formulate some kind of response.” In their segment, the pair, often arguing and questioning each other’s ideas in order to reach common ground, explain two projects that took place on the island of Vieques, previously used as a bombing range by US military forces and only recently returned to the jurisdiction of Puerto Rico. “This frustration with absurdity, this nonsense, this paradox, all these things constitute part of the meaning of the work,” says Guillermo Calzadilla.
Tuesday, October 6, 2020
Timothy Speed Levitch after Sept 11
Counter-tourism
Counter-tourism statement here
Counter-tourism Tactics videos here and here and here and here
If you’ve ever been a tourist, then Counter-Tourism is an invitation to you to completely transform your experience of the heritage-tourism industry and its many sites. Counter-Tourism provides a set of powerful lenses, bending a whole world of conventional tourism into a spiral of new perspectives and experiences.
Wangechi Mutu
Shoe Shoe
Shoe Shoe, is a short black and white clip reminiscent of CCTV footage, and captures the artist dressed as a vagrant and pushing a cart filled with shoes down the street, occasionally chucking them two at a time into the air. “I also love shoes. If I can find a way to use them I will,” Mutu told me by phone.
“We may think we have no power or voice and are completely lacking in space to say what we need to say. [But] there’s creativity in protest; there’s something courageous in throwing a shoe,” she said.
Both performances were directly inspired by a 2008 incident in Iraq where a reporter threw his shoes in anger at President George W. Bush during a press conference. The act of throwing, Mutu said, varies depending on the social context: in some cases, it is used in defiant protest, and in others the intent is malicious and violent, such as with stoning.
“I did come out of it with a lot of adrenaline. It really gets the heart and mind pumping, carrying a 20 pound basket full of pulp,” she said. “Honestly, I wish I could have carried more.”
“We may think we have no power or voice and are completely lacking in space to say what we need to say. [But] there’s creativity in protest; there’s something courageous in throwing a shoe,” she said.
Both performances were directly inspired by a 2008 incident in Iraq where a reporter threw his shoes in anger at President George W. Bush during a press conference. The act of throwing, Mutu said, varies depending on the social context: in some cases, it is used in defiant protest, and in others the intent is malicious and violent, such as with stoning.
“I did come out of it with a lot of adrenaline. It really gets the heart and mind pumping, carrying a 20 pound basket full of pulp,” she said. “Honestly, I wish I could have carried more.”
Amazing Grace
Amazing Grace depicts Mutu walking slowly into the ocean while singing the Christian hymn “Amazing Grace” in her native Kenyan language Kikuyu. Referred to by Schoonmaker as a “meditation on the African slave trade and the travails of displaced populations,” the haunting sounds of Amazing Grace echo throughout the exhibition space (23). Presented to viewers on a flat-screen digital television hidden behind a felt blanket-lined wall, the 7:09 excerpt of the 59-minute Amazing Grace is a digital file that plays on an external hard drive connected directly to the television screen.
Cutting
Cutting (2004) really came out of an intense frustration; I was in a moment when I found myself geographically out of my comfort zone. I had left Kenya and had moved from New York to San Antonio, Texas, for an artist residency at Artpace. It was the middle of the Bush era, and I remember looking at Texas and thinking, “This is the source of a lot of these issues that are coming out of this leadership.” After a few weeks of research and thinking, “Why am I here, how do I inspire myself in a place that gives me nightmares?” I decided that this issue was universal. The lack of humanity, this refusal to address issues through diplomacy, through regarding the problem, rather than just jumping into war without thinking or pausing. I thought: What is it about me that could possibly be like this issue? Instead of pointing the finger, how about I decide to be the perpetrator? When I enacted this cutting piece I was thinking about Rwanda, about women’s work and the connection and confusion between the weapon and the farmer’s tool, especially in Africa and Rwanda, where there were hardly any guns used — mainly machetes, knives, pangas and clubs. It was such a personal massacre and was so close to home, and I wondered what would turn people to do this kind of thing? It said to me: First, this kind of thing could happen anywhere. Secondly, it is easy for you to want to be in the position of the killer, of the persecutor. Cutting came easy for me. I was trying to cut a pile of wood and the sun was setting and so we were tackling this issue of time and light and sound. I was getting very tired and exhausted, and the image I captured for cutting, which was a six-minute piece, was the very end, where the pure exhaustion had gotten me and my knife got caught in a piece of wood. What happens for me in collage is I am able to separate myself and sort of mediate through the process of thinking about these issues that are important to me — issues of beauty, violence, politics, spirituality, etc.
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