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Seminars

29th September, 2022

Looking at the shape and content of our practice we can see our artistic practice as research.

To see that we had to sum up our practice in 3 words.

Mine were: breakthrough

                    explore

                    develop

We then had to say who could be a guiding light for us in those elements:

                   explore: Marina Abramovic because she tried very bold &, at times, very dangerous performances and I need to be more adventurous in my work but how?  Abramovic is too way out there.  Perhaps Cornelia Parker because I love her pavement cracks series because she takes the everyday and makes you think that you are seeing something for the first time.

                  develop:  Marinetti's shape poems have always intrigued me but I have never done anything about them in my poetry.

                  explore: Marcel Breuer in his writing invites me to quiz what I'm seeing and try to see it differently - like his looking at a door stop.  Perhaps I need to look at Leonora Carrington but I don't like surrealism.  I do like the messiness of Oscar Murillo like his work Manifestation:

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We then had to add words to each column of the others in the group and this is what mine ended up like:

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I liked 'courage', understanding boundaries, and pilgrims, and time and light in the last column.

We then had to say who or what had been a real influence & I wrote that seeing Cornelia Parker's work, sound/music, and New Materialisms theory.  We had to write one sentence about our work:

"New Materialisms helps me to readjust my position as a making artist."

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Finally we had to draw an area that is troubling us:

I drew prison grates because I can't get into a women's prison & feel that people don't trust my motives - even without knowing me.  

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Part 2 

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In the first part we listened to a presentation of quotes by Anya.  The ones which appealed to me were:

Relations of labour to product.

The creative mind plays with the objects it loves.

The shape of our perception.

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Then one of the 3rd year students presented slides on what is important in a blog for the course which is that it is primarily for you - it must make sense & be useful for you first & foremost.

Brian (?) then presented a slide show on his trip to Singapore on an international art student trip.  he couldn't recommend it highly enough & said that we ought to apply for it when it comes up.  He showed us his contribution to the final art exhibition curated by the group of their work.  I asked if he had anything in his object which had been influenced by Singapore & he said it was a boat on his printing drum.

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We then had to put all the small objects we had brought into the middle.  We then had to choose one and write about it.

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I picked a St George & the dragon figurine:

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For this I wrote:
We people our lives with saviours and demons on our shoulders

Feeling covered

is our power self-deceiving? protective? empowering?

Our grey hoodies; grey armour, grey locks (playing on my uni password)

Are they just shadows?

Puppet / Shadow theatre?

telling us stories we want to hear / tell?

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Then I put the figurine on the table and saw the shadows:

The natural light cast a diffuse columnar shadow, whereas the artificial light cast a more precise shadow = a metaphor there.  I wrote:
Textured by life?

 Peopled by fear?

 Shaped by faith?

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My small item was:

Mine was a small copper plate.  I had wanted to print after having etched the plate which was originally a short piece of copper pipe.  I asked my husband to cut it open so that I could work on it.  When I saw it, however, I loved the impromptu etchings created by the tools he had used to cut and open the tube that I left it as it was.  There are lots of stories in there.

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Super surprise: Oscar Murillo's work is being exhibited at the Art Show 9 at St Luke's opposite The Box in Plymouth!

The work is not only striking in its uniformity in colours, but it also smells of oil pa

 

The vertical banner presentation of the work reminds me of the “Soulèvements” photographs of Noémie Goudal, a photographer who exhibits her work to resemble the subject she has depicted, like Murillo has here as if you are going through a landscape.        

Detail on one of the canvases.

6th October, 2022

It's not about the medium it's about what you are trying to say.

Material, matter, process:

In these sessions we will look at why materials are chosen by an artist and ask whether materials can be considered neutral in relation to the making of an artwork.

There are associations of value around certain materials, both positive and negative, and these affect how materials and the matter of an artwork are felt or understood. 

Does the history of a material matter? 

Yes: Is the material on the point of disappearing?  How precious is it? 

How do we engage with matter as part of our day-to-day life? 

Through its usefulness?

How do we deal with sources and impact of the materials we might use in terms of the environment, or in cultural and social terms? 

Ecology matters.

When thinking about material and materiality, where do moving image, digital, participatory or performance works sit?

The outcome of this is a mini essay here under "Essays" 

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13th October, 2022

Part 1: Discussions of our first mini essays on materials and materialism.

Part 2: In pairs, curate an exhibition of about 6 artists.

Steve and I decided on 3 artists each and then brainstormed the layout of the exhibition, its title and the works we would have from each of the chosen artists

I have been looking at the work of Antony Gormley and thought we would have his statues emerging from different planes in the gallery and that visitors would enter and exit the space through these slopes.

In the centre of the space we would have 3 artists conversing / debating / co-existing: Gormley, Giacometti & Marina Abramovic.  Giacometti would be talking on behalf of one of his group sculptures, e.g. City Square 11; and Abramovic, Nude with Skeleton.  Steve had the brilliant suggestion of having rhythmic breathing as a soundscape for the whole exhibition space.

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A Yoko Ono film Cut Piece (1994-5) would play on one wall; Medardo Rosso sculptures, Behold the Boy and Laughing woman would be in a corner emerging into the space like his figures emerge from the material they are sculpted from; Elizabeth Frink with her Dragonfly man (1966) and one of her airman busts would be against a wall opposite Rosso.  The idea is that the artists and their pieces would be in a matrix, like the characters in the Giacometti piece, they would all be talking to one another across the room thus phonically occupying the negative space between them thereby linking them all.  Any visitors could be part of the exchanges and therefore the piece.  They could even sing their responses if they wanted to. The title / theme of the exhibition would be "Why uncovered?" reflecting the fact that Ono is cutting the suit off herself, Frinks' man and Gormley's statues are naked, Abramovic is holding a (naked!) skeleton, Giacometti's pieces could be naked and Rosso's pieces have uncovered heads.

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Fabulous exercise that I enjoyed tremendously.

20th October, 2022

Research as intervention

The ways research is aestheticised, how it resists and is activated within a work of art. 

We focused on Benjamin Bratton's The Stack, on software and sovereignty: a mixture of geopolitics, design theory and computer science.  A model of the whole picture.

All our smart technology should be seen as a whole rather than an accidental mega-structure."We are in it & it is in us"= it is the basis of an emergent order.

Its form: its layers, its platforms and its content.  Leaks show that it can be weaponised against us.

Platforms / stacks don't care if the users are animal, vegetable or mineral

All users have platform sovereignty.  In security speak a user is credentialised by 3 qualities: you know like a password, you are, like a fingerprint, you have like a keycard.  So if someone or something can be, know and have, it can be a user.

The Anthropocene is not just about a kind of human, it's also about a kind of humanism (23.58):the human experience of human experience is a) the central purpose of a world given there for us; b) something that is separate from our evolutionary bio-technological evolution.  Theologic view that sees the world as here for us.  This human exceptionalism is the recipe of human Anthropocene.

Inverse panopticon effect = you know when you are being observed and behave as if you aren't.  Today's surveillance culture = Exhibitionism in bad faith

The AI does not hate you, it does not love you but you are made up of atoms that it can use for something else.

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The black stack: it is black because we may not see our own reflection in it.

The first stop for me was on Bratton's website home page where he had Antikythera emblazoned in the corner.  I had read one of the paragraphs on that page and could only understand it because I had seen the antikythera at the archaeological museum in Athens in 2006, and that I knew what it did and how because my nephew David Goodchild constructs these in wood and sells them.  I immediately emailed seminar lead Laura Hopes to tell her about David & she recorded an interview with him and posted it on our DLE.

The structures which guide aesthetics can be familial, political and theocratic.  the systems of difference can be gender, age, ethnicity.

under aesthetics of research we looked at the design language of Emma Cocker et al.  That must come after a lot of discussion amongst the artists collaborating - can those cyphers be adopted by others? I'm not sure they can.

Achille Mbembe: the plurality of times is “not a series but an interlocking of presents, pasts and futures that retain their depths of presents, pasts and futures, each age bearing, altering and maintaining the previous ones.” Thus continuing the stack metaphor.  

Jussi Parikka: The current contemporary condition becomes infused with an odd sense of synchronized materiality that arranges itself differently according to which angle you take: from the “raw” materialities of the earth inside computational devices to the computationally managed abstract epistemologies that action the movement of such matter. This management of the multiscalar planetary computation is also at the center of Benjamin Bratton’s take on the issue: “The Stack” is that form, multi-layered and multitemporal, that functions as a mega-architecture from the Earth to the User.  (A slow, contemporary violence: Damaged environments of Technological Culture, 

Jussi Parikka, 2016, p27)

Nan Goldin: 

Achille Mbembe: Decolonising knowledge, building and public spaces, and the question of the archive.

Nicolas Bourriaud in Relational Aesthetics (1998), "art is the place that produces a specific sociability," 

For Grant H. Kester, in another key text, Conversation Pieces: Community and Communication in Modern Art (2004), art is uniquely placed to counter a world in which "we are reduced to an atomized pseudo-community of consumers, our sensibilities dulled by spectacle and repetition." For these and other supporters of socially engaged art, the creative energy of participatory practices rehumanizes - or at least de-alienates - a society rendered numb and fragmented by the repressive instrumentality of capitalism." (Slide 29)

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Ibrahim Mahama's gigantic pieces references society's relationship with industry.

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We looked at forensic architecture - I had watched the video on it by Eyal Weizman & it made compelling viewing.

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We looked at the work Battle of Orgreave by Jeremy Deller and at Claire Bishop's critique of it which made really good sense to me.

3rd November, 2022

Looked at how literature can affect artists.

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The following were recommended reading / investigating:

Carl André podcast "Death of an artist."(https://www.pushkin.fm/podcasts/death-of-an-artist/the-numbers#play)

Blurb to the podcast: n the wake of the #metoo and Black Lives Matter movements, art museums began publicly touting their dedication to diversity. In this episode, we hear from two arts journalists about whether there are actually more artworks by women and people of color on the walls.

Quantifying the disparities in the art works."It's a great time to be an African-American artist?  In 2019 Trump world.

Charlotte Burns: Looking at representation of women and Black American artists. Data analysis: power dynamics between curators, director, trustees.

Women's place in the art world - an illusion: 1 in 5 of artworks were by females: a downward trend since 2008 - 2020. What goes into the permanent collection is determined by those who are entrenched into the systems of power. More impact because it is a reflection of what the museum stands for and which is dominated by men, white men.  Racism & sexism are built into what the structure of how institutions operate.  

Arts and artists are inextricably linked.  Art acquisitions are suffused with money and power and so are resistant to change.  If we don't change the power dynamics, nothing will change.

Sophie Strand: relates the importance of how we relate to and are connected with nature.

Chris KrausGoing around the contemporary art world now, so many of the people who create and support the career, the curators, gallerists, and dealers, are women. It’s common to see these incredibly dynamic and gifted women nurturing and maintaining the careers of male art stars. You don’t see that happening in the same way with women. A woman who is trying to work in that arena has a lot less support and tends to be on her own. The cultivation of the male celebrity artist, as done by all these gifted women, still makes me catch my breath sometimes.

“I’m not writing about feminism. I’m a woman writing about things” – Chris Kraus

Ursula K. LeGuin : Carrier bag theory rather than hero: gathering ideas and holding them rather than attacking.  technology is not a weapon of domination.

Hélène Cixous - under cover surrealism - I must get to grips with surrealism as there seems to be much more to it than Rene Magritte and De Chirico. "This principle of exclusion is summed up by Cixous thus: “Intention: desire, authority—examine them and you are led right back . . . to the father. It is not possible not to notice that there is no place whatsoever for women in the calculations.” "Patriarchy is maintained by the exchange of women as possessions from father to husbands in order to gain something. The male gains authority, power, virility and pleasure in this economy based on property and exchange. The feminine economy is based not on the proper and exclusion but on the gift." "Writing is also structured by a “sexual opposition,” one that favoured the male and reduced writing “to his laws.” "The need is thus for a woman’s writing, one that will be a flow of “luminous torrents,” excess, never-ending and open, without hierarchy, repressive logic or control." Écripture feminine for Cixous: “flying in language and making it fly,” since for centuries we’ve been able to possess anything only by flying;  we’ve lived in flight, stealing away.” Puns, declamations, fragmented syntax and associative word play are very often the staple of Cixous’ writing. Here creative and academic/theoretical discourse cannot be distinguished, for to separate the two would be to put into place a binary opposition. Femininity is plenitude, excess."

Heather Peak: Studio Morrison novella: Falling into place.- on order.

10th November, 2022
Literature and contemporary art part 2.
We were asked to bring the texts which are shaping our projects so far.  As I had to bring a lot of stuff for my presentation in the afternoon, I took photos of the books and texts.
And we had to make yet another collage: 3 consecutive weeks of collage!  8 hours of collage!  I can't stand the process!  But I realised that I subconsciously selected items from the texts relating to prison only:

I could write an essay about this grouping:

In Place of Hate images of shadows and pressed flowers, greenery, ravaged landscape, Public, Private, Secret next to L'Inferno both covered by not quite transparent paper, lined up with wings formed by the text of Wings, a section of mushroom opened up as if a pair of wings, and a History of Women's prisons. the mushroom symbolising the darkness obfuscating the absence of data about women in prison, and the faeces we are fed about it.

This last grouping has Monster and illegible text next to a Riepenhoff cyanotype and a Chinese gunpowder-laced image next to a root from a weed threaded through the book cover of Wings.  There is a sense of rebellion / anger / subversiveness expressed here with the writing on the wall for women's prisons.

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There is a lot of space between the items which is not normally the case with collages.

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I will try to knit them more closely together - I actually quite enjoyed the exercise.

17th November, 2022
My collage revisited
When I went back to the collage after a week, the plants had all died, the mushroom had shrunk and the meaning of the collage struck me.

What struck me was that I had taken many images of many books and pages of texts for both prisons and seaweed.  What I actually handed over to be printed was just the material relating to prisons.  What else struck me was that I had actually cut through the images of the covers of the books and threaded or pasted text through them which made the text very difficult to read because there were other bits in the way.

We had discussed how collage work reflects your subconscious thinking and I had not paid much attention to this.  What struck me now was that I realise I have to approach the prison aspect of my project differently because at the moment I am hitting brick wall after brick wall.

The little mushroom wings have shrunk,

17th November, 2022
MATTERS OF CARE – ETHICS + TECHNOSCIENCE + NATURECULTURES

STS = Science & TechnoScience = the science / culture divide: I don't understand the divide per se because I think science is a cultural aspect of our existence - it is different not opposite.

Slide 2: There is the potential for assuming that ‘physical’ or ‘geographical’ distance in the classic sense will always tend towards indifference and ignorance, whereas proximity, and in particular visibility, will contrastingly induce empathy, and senses of care, duty and responsibility.  

I challenge that view from the photography standpoint, if proximity and in particular visibility will induce empathy, senses of care, duty and responsibility then the plight of migrants, asylum seekers, refugees would have ended following the photo from The Guardian:

Slide 5: 

David Abrams says that 

We need stories that advocate the sensorial experience of becoming-with the more-than-human world. ‘Only by being deeply here, in and of this place am I palpably connected to every other place’

This is a quote that will be guiding me in my seaweed project with the 3D prints of the seaweeds and the 360 degree camera shots underwater.

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Critter Compiler by Helen. V. Pritchard's is another concept I would like to explore, particularly 'to reimagine other more poetic forms of entanglements between biotic subjects and computation, such as the Critter Compiler. '

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Braidotti: states that: “feminist anti-humanism, also known as postmodernist feminism, rejected the unitary identities indexed on that Eurocentric and normative humanist ideal of ‘Man’ (Braidotti, 2002). It went further, however, and argued that it is impossible to speak in one unified voice about women, natives and other marginal subjects. The emphasis falls instead on issues of diversity and differences among them and on the internal fractures of each category. "

The agency of Vanessa Watt’s concept of Place-Thought outlines this as a “non-distinctive space where place and thought were never separated because they never could or can be separated. Place-Thought is based upon the premise that the land is alive and thinking and that humans and non-humans derive agency through the extensions of these thoughts.”  

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In her book Braiding sweetgrass, Kimmerer points, despite the biological and societal genocide of Indigenous peoples, to a possibility for the future, of an indigeneity to place:It was through her actions of reciprocity, the give-and-take with the land, that the original immigrant became indigenous. All of us, becoming indigenous to a place means living as if your children’s future mattered, to take care of the land as if our lives, both material and spiritual, depended on it.”

 

“In some Native languages the term for plants translates to “those who take care of us.”

Robin Wall Kimmerer. 

How apt is this for seaweeds!  They feed us; they absorb CO2 from the air; they cure us; 

 

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