Wednesday, March 24, 2010
Wednesday, March 10, 2010
Saturday, March 6, 2010
merchandize coming soon / 8 - 12 July 2010
would you like cups and postcards of "Dungbeetle and Sisyohus", "A wild sheep chase", or of "project yet to be titled"?
would you like a scale model of the original dungball in limited edition of 15 (accompanied by a dvd with a film of their making)? Would you like the "Original snowshoes I" 1/1 ?
A self-assembly package for a ladder identical to the one from the Art installation: "Journey through the forest with Virgil", or
a limited edition screenprint of a choice of projects?
Perhaps an approximately A2 - A0 sized aluminum mounted photographic c-type printed art work in editions of 1/1 to 1/12...
These and much more will be available for purchase at the limited time period only MFA Art Practice End of MFA degree Show!
When?: Private View 8th July then daily 9th - 12th July 2010
Where?: Goldsmiths University, Laurie Grove Street, New Cross, London
Where to find out more?: about the show: contact Goldsmiths and more info on the website, about the merchandize: please feel welcome to contact me at any time.
would you like a scale model of the original dungball in limited edition of 15 (accompanied by a dvd with a film of their making)? Would you like the "Original snowshoes I" 1/1 ?
A self-assembly package for a ladder identical to the one from the Art installation: "Journey through the forest with Virgil", or
a limited edition screenprint of a choice of projects?
Perhaps an approximately A2 - A0 sized aluminum mounted photographic c-type printed art work in editions of 1/1 to 1/12...
These and much more will be available for purchase at the limited time period only MFA Art Practice End of MFA degree Show!
When?: Private View 8th July then daily 9th - 12th July 2010
Where?: Goldsmiths University, Laurie Grove Street, New Cross, London
Where to find out more?: about the show: contact Goldsmiths and more info on the website, about the merchandize: please feel welcome to contact me at any time.
Monday, March 1, 2010
Thursday, February 25, 2010
Wenn Du weißt was Du tust...
"Der große Satz, der in diesem schönen Buch des Hamburger Fotografen Jo Röttger steht, heißt: "Wenn du weißt, was du tust, dann tu es nicht." Anders gesagt: Nur der Schritt ins Unbekannte lohnt den Aufwand."
Wilson's world
also interesting..:
The Placenta in Lore and Legend
Wilson's world
also interesting..:
The Placenta in Lore and Legend
Tuesday, February 23, 2010
Journeys with no return / a conference at the Goethe Institute
"Journeys with no return" arguable describes anyone's passage through life, but in the context of this conference which refers to the exhibition of same title at the A Foundation the subject is migration, immigration and cultural contexts.
from the Goethe Institute website: "Themes include how culture is transformed through migration, the influence of Turkish migration on contemporary practitioners and how we are building new cultural contexts in the 21st century city."
Towards the end of the day the conference appeared to become somewhat confused with itself, maybe we had all been there, too long by then, too tired, saturated with so much interesting and very varied material. I feel that the organizers of the day may have fallen pray to the desire to show as much as possible, cover as many angles of their interests as possible and with this the direction became confused for those who sought something more linear.
We covered so much ground and at several junction there just wasn't enough time to do justice to what we had just heard. The breaks were called late and yet too soon to hear just half of what the audience would have liked to contribute, or what the panel and artists could have shared. The schedule was very ambitious and probably didn't suit everyone's expectations.
An odd outburst of emotion threatened to hijack the last minutes of the conference with most of us confused where the outburst came from even I could only conclude some misunderstanding had taken place. The accusations seemed far fetched and were delivered with surprising force...
It was inspiring to see Edgar Schmitz tie up loose ends, answer impossible questions, tame the currents of emotion when they flared, he did this with admirable skill and lucidity.
I hadn't quite realized the significance of the Arcola Theatre, after this conference I see very clearly what an important role the Arcola plays in the cultural life of London. What an achievement to gain such a position among such a large playing field.
from the Goethe Institute website: "Themes include how culture is transformed through migration, the influence of Turkish migration on contemporary practitioners and how we are building new cultural contexts in the 21st century city."
Towards the end of the day the conference appeared to become somewhat confused with itself, maybe we had all been there, too long by then, too tired, saturated with so much interesting and very varied material. I feel that the organizers of the day may have fallen pray to the desire to show as much as possible, cover as many angles of their interests as possible and with this the direction became confused for those who sought something more linear.
We covered so much ground and at several junction there just wasn't enough time to do justice to what we had just heard. The breaks were called late and yet too soon to hear just half of what the audience would have liked to contribute, or what the panel and artists could have shared. The schedule was very ambitious and probably didn't suit everyone's expectations.
An odd outburst of emotion threatened to hijack the last minutes of the conference with most of us confused where the outburst came from even I could only conclude some misunderstanding had taken place. The accusations seemed far fetched and were delivered with surprising force...
It was inspiring to see Edgar Schmitz tie up loose ends, answer impossible questions, tame the currents of emotion when they flared, he did this with admirable skill and lucidity.
I hadn't quite realized the significance of the Arcola Theatre, after this conference I see very clearly what an important role the Arcola plays in the cultural life of London. What an achievement to gain such a position among such a large playing field.
Wednesday, February 10, 2010
Take me to Mongolia / human & un-human / SEMINAR
Claude Levi Strauss, Giorgio Agamben
animal, human,
What's left if we take the purpose away from the movement?
i.e. Zoe Schoefield:
interests: physicality, language, translation, contradictions, transition, dysfunctional objects, quixotic journeys, narrative
stage - gallery
physical movement - installation
liveness - object
performance - ritual
aesthetic: cinematic, staging/lighting/creating the space. Instilling an object/activity with implication of meaning
contraditions: Artaud / Theatre of Cruelty (Ritual - taking body to pieces, going beyond representation)
Butoh:
Pina Bausch
Tatsumi Hijikata (土方巽 Hijikata Tatsumi?), March 9, 1928 - January 21, 1986) was a Japanese choreographer, and the founder of a genre of dance performance art called Butoh[1]. By the late 1960s, he had begun to develop this dance form, which is highly choreographed with stylized gestures drawn from his childhood memories of his northern Japan home. It is this style which is most often associated with Butoh by Westerners.
Hijikata was an innovator in movement technique. He was a master of the use of energy qualities in constructing expressive movement. He would use sounds, paintings, sculptures, and words to construct movement, not exclusively in a formal or literal memetic application, but by integrating these elements via visualization into the nervous system to produce movement qualities that could be very subtle, light, angelic and ghost-like, or demonic, heavy, dark, grotesque, violent and extreme.
This use of visualization (triggered and supported by the above mentioned elements) masters sophisticated movement qualities similar in many ways to the Mime System of Jacques Lecoq.
http://www.butohuk.com/
Pina Bausch : Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Repetition is an important structuring device.
...
…especially in "Frühligsopfer" the choreography demands that the players abandon themselves right up to the physical limits. It is only this that gives the pieces an authenticity and dramatic power that is transmitted directly to the bodies of the audience. Pain, suffering, desperation are not merely implied or conveyed in a pretty gesture. They are unloaded with the force of extreme physical and emotional presence. This requires dancers who have no fear of themselves and who are prepared to reveal the elementary human drives in themselves and to portray this authentically on the stage.
Lee Walton http://www.youtube.com/watch?v=91JpmouCEg4
seems inconsequential 'fluff'...
(I would like to see more gravity, beyond the questions "What can I get people across the globe do for fun?'..)
======
maybe:
Jerzy Grotowski
The Columbia Encyclopedia:
Jerzy Grotowski , 1933-99, Polish stage director and theatrical theorist. Grotowski was founder and director of the small but influential Polish Laboratory Theatre (1959). He propounded a "poor theatre," which eliminates all nonessentials, i.e., costumes, sound effects, makeup, sets, lighting, and strictly defined playing area, in an effort to redefine the relation between actors and the audience. Late in his career (1986) he opened the Workcenter in the village of Pontedera, Italy, where his ideas about theater are still explored, actors are trained in his methods, and an abstract song and movement composition called Action is frequently performed.
Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance.
In his book The Theatre and Its Double, which contained the first and second manifesto for a "Theatre of Cruelty," Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese. He admired Eastern theatre because of the codified, highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty". At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in spac
http://images.google.co.uk/imgres?imgurl=http://www.hss.state.ak.us/gcdse/history/Images/Section%252007,%2520part%2520two/7s-institution-ward-mn.jpg&imgrefurl=http://www.hss.state.ak.us/gcdse/history/HTML_Content_Main.htm&usg=__mxduUgGl00enDsIhSXBRocNa1xY=&h=465&w=558&sz=190&hl=en&start=177&sig2=NPkzonw68977iCzdTcU0qw&um=1&itbs=1&tbnid=bd6zVicGVFGs3M:&tbnh=111&tbnw=133&prev=/images%3Fq%3Dmental%2Basylum%2Bphotograph%2Bvii%26start%3D168%26um%3D1%26hl%3Den%26client%3Dsafari%26sa%3DN%26rls%3Den%26ndsp%3D21%26tbs%3Disch:1&ei=q-6LS6O7LdDx-Qb1sLDkDQ
Augusto Boal:
Epidauros (greek tragedy / chorus work):
Brothers Quay / chorus / theatre 'dance'...:
Bas Jan Ader:
Tacita Dean:
Tacita Dean’s works span the realms of fact and fiction, and frequently cite the emotive journey between concept, narrative and experience.06.06.2006 Tacita Dean’s works span the realms of fact and fiction, and frequently cite the emotive journey between concept, narrative and experience.
http://channel.tate.org.uk/media/26649826001
http://www.tacitadean.org/
what I like about i.e. Cunningham, Herzog, Boal: the accumulation of the 'MYTHIC', gravity, importance, history
animal, human,
What's left if we take the purpose away from the movement?
i.e. Zoe Schoefield:
Zoe Scofield - Dance Duet from Kindred Media on Vimeo.
Director of Photography: Gabriel Miller, Kindred Media
interests: physicality, language, translation, contradictions, transition, dysfunctional objects, quixotic journeys, narrative
stage - gallery
physical movement - installation
liveness - object
performance - ritual
aesthetic: cinematic, staging/lighting/creating the space. Instilling an object/activity with implication of meaning
contraditions: Artaud / Theatre of Cruelty (Ritual - taking body to pieces, going beyond representation)
Butoh:
Pina Bausch
Tatsumi Hijikata (土方巽 Hijikata Tatsumi?), March 9, 1928 - January 21, 1986) was a Japanese choreographer, and the founder of a genre of dance performance art called Butoh[1]. By the late 1960s, he had begun to develop this dance form, which is highly choreographed with stylized gestures drawn from his childhood memories of his northern Japan home. It is this style which is most often associated with Butoh by Westerners.
Hijikata was an innovator in movement technique. He was a master of the use of energy qualities in constructing expressive movement. He would use sounds, paintings, sculptures, and words to construct movement, not exclusively in a formal or literal memetic application, but by integrating these elements via visualization into the nervous system to produce movement qualities that could be very subtle, light, angelic and ghost-like, or demonic, heavy, dark, grotesque, violent and extreme.
This use of visualization (triggered and supported by the above mentioned elements) masters sophisticated movement qualities similar in many ways to the Mime System of Jacques Lecoq.
http://www.butohuk.com/
Pina Bausch : Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Repetition is an important structuring device.
...
…especially in "Frühligsopfer" the choreography demands that the players abandon themselves right up to the physical limits. It is only this that gives the pieces an authenticity and dramatic power that is transmitted directly to the bodies of the audience. Pain, suffering, desperation are not merely implied or conveyed in a pretty gesture. They are unloaded with the force of extreme physical and emotional presence. This requires dancers who have no fear of themselves and who are prepared to reveal the elementary human drives in themselves and to portray this authentically on the stage.
Lee Walton http://www.youtube.com/watch?v=91JpmouCEg4
seems inconsequential 'fluff'...
(I would like to see more gravity, beyond the questions "What can I get people across the globe do for fun?'..)
======
maybe:
Jerzy Grotowski
The Columbia Encyclopedia:
Jerzy Grotowski , 1933-99, Polish stage director and theatrical theorist. Grotowski was founder and director of the small but influential Polish Laboratory Theatre (1959). He propounded a "poor theatre," which eliminates all nonessentials, i.e., costumes, sound effects, makeup, sets, lighting, and strictly defined playing area, in an effort to redefine the relation between actors and the audience. Late in his career (1986) he opened the Workcenter in the village of Pontedera, Italy, where his ideas about theater are still explored, actors are trained in his methods, and an abstract song and movement composition called Action is frequently performed.
Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance.
In his book The Theatre and Its Double, which contained the first and second manifesto for a "Theatre of Cruelty," Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese. He admired Eastern theatre because of the codified, highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty". At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in spac
http://images.google.co.uk/imgres?imgurl=http://www.hss.state.ak.us/gcdse/history/Images/Section%252007,%2520part%2520two/7s-institution-ward-mn.jpg&imgrefurl=http://www.hss.state.ak.us/gcdse/history/HTML_Content_Main.htm&usg=__mxduUgGl00enDsIhSXBRocNa1xY=&h=465&w=558&sz=190&hl=en&start=177&sig2=NPkzonw68977iCzdTcU0qw&um=1&itbs=1&tbnid=bd6zVicGVFGs3M:&tbnh=111&tbnw=133&prev=/images%3Fq%3Dmental%2Basylum%2Bphotograph%2Bvii%26start%3D168%26um%3D1%26hl%3Den%26client%3Dsafari%26sa%3DN%26rls%3Den%26ndsp%3D21%26tbs%3Disch:1&ei=q-6LS6O7LdDx-Qb1sLDkDQ
Augusto Boal:
Epidauros (greek tragedy / chorus work):
Brothers Quay / chorus / theatre 'dance'...:
Bas Jan Ader:
Tacita Dean:
Tacita Dean’s works span the realms of fact and fiction, and frequently cite the emotive journey between concept, narrative and experience.06.06.2006 Tacita Dean’s works span the realms of fact and fiction, and frequently cite the emotive journey between concept, narrative and experience.
http://channel.tate.org.uk/media/26649826001
http://www.tacitadean.org/
what I like about i.e. Cunningham, Herzog, Boal: the accumulation of the 'MYTHIC', gravity, importance, history
Wednesday, June 3, 2009
Tuesday, May 19, 2009
Alfredo Cramerotti @ Events at the Open Eye Gallery Liverpool
Redeye Network Meeting
Tuesday 19 May, 7.30pm
Speaker: Alfredo Cramerotti
Alfredo Cramerotti will present his recent project Faulty Lines. Shot in various cities around the world, the project explores the relationship between the two-dimensional photographic image and a three-dimensional built environment. Alfredo Cramerotti is an artist, curator and writer based in Derby. His work as an artist is primarily concerned with questions of narrative in photography, installation, video, performance and text. Organised in collaboration with Open Eye Gallery, Redeye’s Liverpool Network meetings take place every couple of months. They offer photographers of all kinds the chance to meet, catch up on news and gossip, meet members of the Redeye and Open Eye Gallery teams and see short talks and presentations of work.
Free event, all welcome.
Tuesday 19 May, 7.30pm
Speaker: Alfredo Cramerotti
Alfredo Cramerotti will present his recent project Faulty Lines. Shot in various cities around the world, the project explores the relationship between the two-dimensional photographic image and a three-dimensional built environment. Alfredo Cramerotti is an artist, curator and writer based in Derby. His work as an artist is primarily concerned with questions of narrative in photography, installation, video, performance and text. Organised in collaboration with Open Eye Gallery, Redeye’s Liverpool Network meetings take place every couple of months. They offer photographers of all kinds the chance to meet, catch up on news and gossip, meet members of the Redeye and Open Eye Gallery teams and see short talks and presentations of work.
Free event, all welcome.
Tuesday, May 5, 2009
Tuesday, January 27, 2009
Gaga happens on the 18th of february
...in New Cross / London
Click on the title and it's take you to GAGA.
Click on the title and it's take you to GAGA.
Monday, November 3, 2008
Thursday, October 30, 2008
...
We should all be given an audio as well as hard copy of all the
inns and outs. And possibly a loudspeaker system that gently
reminds us (me) of the essentials on every even date's full hours
would prove useful.
Or simply a return to the blackboard on which I could write:
"I repent. And I must read all of the handbook,
as this information is probably found inside of it..."
inns and outs. And possibly a loudspeaker system that gently
reminds us (me) of the essentials on every even date's full hours
would prove useful.
Or simply a return to the blackboard on which I could write:
"I repent. And I must read all of the handbook,
as this information is probably found inside of it..."
Tuesday, October 28, 2008
subverting the norm..? / convertible caravan living.. 2008-2010
purchase of a golden/green Sprite convertible caravan: October 18th 2008
Next step: occupation from October 29th 2008
Next step: occupation from October 29th 2008
Sunday, October 26, 2008
I like this Jump Ship Rat production:
Artists BEN PARRY & JACQUES CHAUCHAT of Jump Ship Rat unite once again to create a giant mobile water fountain. An endless waterfall 40 meters wide pours from above as if from nowhere, circumventing a narrow boat and hiding it behind a wall of water. Theatrical and playful the gliding water fountain comes to grace the Albert Dock. Erupting from the dock, this is an aesthetic and sensory delight that hypnotises the viewer into quiet contemplation, then passing through tunnels and canals it disappears leaving only the still pool. A Liverpool Commissions project; JSR U-51 celebrates the City's maritime history through the element water. Water is the source of all life on earth, as such it has appeared in culture across the ages as a metaphor for the cycle of life, genesis and power; a spiritual symbol and an evocation of the natural world.
Friday, September 12, 2008
Friday, August 8, 2008
Thursday, August 7, 2008
Tuesday, August 5, 2008
Friday, August 1, 2008
Sunday, July 20, 2008
Gusto
The "Dungbeetle and Sisyphus" project is still in the making, well,
there has been very little making so far, more a slow fermentation.
Hopefully I will make my human-sized dungball this week, it will be a
large bale of hay covered in manure. Lovely. I may have found the way
to deter any further options of having a personal life.
Unfortunately I probably won't be able to go straight for the filming in
the location that I really would like to use, that will need to be better prepared,
i.e. I will need suitable transport that can move my huge ball of...
well, I don't need to spell it out I am sure...
So I am planning to make my prop on Thursday in a hopefully 'co-operative'
horse stables and document that part to begin with (the making).
Perhaps I will be able to roll it around a bit in the adjacent country/town scape = test..
It's my birthdays on Wednesday, I think it's quite fun to start the new year with dungball rolling..
Then what?
Better admin skills are needed; i.e. more disciplin! & I am considering to adopt an alias.
Speaking with Greg from The Art Organization (TAO) in Liverpool I was reminded that a
friend and I, years ago, started to construct our aliases.
An alias could be useful, when I have ideas that I just have to make or else they will clog
my pores; but which I don’t want to take responsibility for at this time… I am tempted.
Art in Liverpool:
I am quite impressed at the moment. There is a nice dynamic around and I am seeing
quite a lot of what seems like inter-group-team-playing.. Perhaps we've cracked it...
I think there is a real chance that quite a significant number of artists have decided to
get into that boat and row together for faster progress...
Although I do know of at least 8 people who will leave as soon as the
Capital of Culture Year is over.. Perhaps some Art Vultures..? Is that term even fair?
I will think about it and report back.
So, I have been invited by the Royal Standard to take up residence and am delighted.
I like the feel that hovers around the group, there is a distinct air of promise around
them. Oh and now I am part of it.
My first venture into group activity in a long time. Not before in my art practice,
not voluntarily. I just wasn't quite ripe before now.
But right now it seems like the perfect choice.
I am open to all currents.
Conclusion: Positive.
there has been very little making so far, more a slow fermentation.
Hopefully I will make my human-sized dungball this week, it will be a
large bale of hay covered in manure. Lovely. I may have found the way
to deter any further options of having a personal life.
Unfortunately I probably won't be able to go straight for the filming in
the location that I really would like to use, that will need to be better prepared,
i.e. I will need suitable transport that can move my huge ball of...
well, I don't need to spell it out I am sure...
So I am planning to make my prop on Thursday in a hopefully 'co-operative'
horse stables and document that part to begin with (the making).
Perhaps I will be able to roll it around a bit in the adjacent country/town scape = test..
It's my birthdays on Wednesday, I think it's quite fun to start the new year with dungball rolling..
Then what?
Better admin skills are needed; i.e. more disciplin! & I am considering to adopt an alias.
Speaking with Greg from The Art Organization (TAO) in Liverpool I was reminded that a
friend and I, years ago, started to construct our aliases.
An alias could be useful, when I have ideas that I just have to make or else they will clog
my pores; but which I don’t want to take responsibility for at this time… I am tempted.
Art in Liverpool:
I am quite impressed at the moment. There is a nice dynamic around and I am seeing
quite a lot of what seems like inter-group-team-playing.. Perhaps we've cracked it...
I think there is a real chance that quite a significant number of artists have decided to
get into that boat and row together for faster progress...
Although I do know of at least 8 people who will leave as soon as the
Capital of Culture Year is over.. Perhaps some Art Vultures..? Is that term even fair?
I will think about it and report back.
So, I have been invited by the Royal Standard to take up residence and am delighted.
I like the feel that hovers around the group, there is a distinct air of promise around
them. Oh and now I am part of it.
My first venture into group activity in a long time. Not before in my art practice,
not voluntarily. I just wasn't quite ripe before now.
But right now it seems like the perfect choice.
I am open to all currents.
Conclusion: Positive.