//emma
Interesting to me in terms of collaborative portraiture, alter ego's and queer images. I would like to develop an alter ego.
Monday, 5 December 2011
Friday, 2 December 2011
engage2012-ABOUT THE PROJECT
engage 2012 artist led residential city project
project description and details
Thematic background
During engage2012, a group of artists will travel from their different cities of residence, to Bucharest, Romania where none of them have ever been before. They will stay in Bucharest for two weeks. The artists will go out on their own into the city, where they explore, engage and interact, drawing from their own artistic practice and perspective. In this way they are made aware of their surroundings; a city in which they are strangers, newcomers. Bucharest Air, an artist run organization, will host the project and in return the project participants will share their research in a public presentation at the end of their stay.
Each day the group will meet together and share their thoughts and experiences, developing both their dialogue with the group and with the city of Bucharest.
The artists leave their homes, where reactions and interactions are often familiar and defined. They come together in a foreign city, where they themselves are the others, simultaneously being in the city, as well as apart from it due to their position as foreigners. The artists who are participating in engage2012 have during the course of their own practices, explored issues such as inside(r)/ outside(r), separate/ integrated, subject/ object. They have an interest in continuing these explorations, bringing their practices “onto” a city in an open and communicative process. They intend to establish a dialogue with each other, with the city, and with their host.
The process questions where and how “art” takes place. Here the dialogue is central, the making and unmaking of ideas and collective and individual strife, pushing beyond the boundaries set out for us.
How
As the project is intended to involve both individual research and collective dialogue all the participants will be expected to partake in daily meetings/ conversations. When, and under what circumstances these will take place will be planned within the group. It could, for example, be over dinner or in a public space. Apart from these meetings the participants are expected to engage with the city, explore it through the interface of their own art practice. Whatever impressions, questions or conflicts that appear relevant during these daily engagements with the city will constitute the topics of our conversations. Each participant will be encouraged to support their thoughts with “material” they have collected throughout the day; stories, drawings, anecdotes, found ephemera, recordings etc. During the first part of the project these meetings are intended to be closed so as to socially establish the group. As a form of presentation at the end of the project they will then be held open to the public for 1-3 days. During these final meetings participants can invite the public and local artists to join in the conversation. It could be moderated as a large “around-the table” or a speed-dating session. This is meant as the conclusion of the residential aspect of the project. The three organizing artists have also been invited by Bucharest Air director Tudor Bratu to present a lecture/ workshop to local art students about their individual practices and their experience of working together on engage2012.
Engage2012 is currently without funding, proposals for funding are being submitted locally by each artist, if you can offer funding or support for the project please contact us directly. We anticipate that engage will develop further, considering that we have had such positive responses from several art organizations across Europe, we foresee an ongoing dialogue and collaboration internationally, developing rich and diverse networks of exchange.
Documentation/ Publication
Throughout the process the meetings will be documented via audio recordings (ca 1-3 h daily). The transcriptions of these conversations, as well as any additional material produced in/ around/ and relevant to the project by the participants will be edited together in a publication. This publication is intended to exist online as a blog and newsletter from which parts could be sent to existing art-magazines. If possible we also wish to produce a small paper-edition that can be presented in an exhibition. It is however important to point out that the conclusion of the project takes place in the open conversations during the final stage of our stay.
We have begun and maintained this blog thus far and this could become a public document of the overall process from early planning stages to the point of visiting and residing in the new city, sharing the knowledge gained over the course of this artist-organized project.
Who is Behind Engage 2012?
This project is born from the collective concerns and curiosities of three artists; Josefin Rasmuson (Sweden) Emma Haugh (Ireland) and Tess Walkowski (US/ Resident in the Netherlands). Josefin Rasmuson and Tess Walkowski met during their studies in Amsterdam. During this period they organized several projects together. Josefin Rasmuson met Emma Haugh during Aerial Blue (organized by the Good Hatchery, Ireland) summer 2011 where they both participated in a "survival camp for contemporary artists". These relations are the basis for engage2012. The three artists meet regularly online for collaborative writing sessions and group discussion about the project and it’s ongoing development.
Juan Delgado- Le Reve de Newton
Hello friends,
I just had to share this video with you, I find it so beautiful.
Its by Juan Delgado, a friend artist who I met during This is Not a Gateway in London.
Tuesday, 29 November 2011
Inspiring blog
http://arttorrents.blogspot.com/
inactive since 2008, but the stuff thats there is interesting
josefin r
inactive since 2008, but the stuff thats there is interesting
josefin r
Text for AVATARVARO, Premiere 8 dec, Stockholm
(this text will originally be published in SWE, here food for thought)
To be the body without the mind.
To reflect with passive distance on the actions performed by the body, as if they were not one's own.
To experience proximity to another person freed from the isolation of the “I”.
In the meeting of avatars there is complicity and trust, a twinkle of an eye, a silent undertone.
Whilst the operators' isolated “I”s desperately attempt to overcome the undefinable divide between them the avatars are already there, they are already mobilizing.
They have found that they have something in common, in the midst of freedom from power and responsibility. .
And perhaps this experience of community is about (for once) ending up on the "right" side in the great simplified Revolutionary drama - without hypocracy or divided identities.
In all of this, the hand-over becomes a happy one, like a romantic form of apathy.
Why do we want to hand ourselves over like this?
Is it not enough to be spectators in the society and time we are living in, do we also want to be spectators to our own lives, to the actions performed by our own bodies? Maybe it is the expression of a generations impotence in relation to the global problems and power-structures that define their lives. Why are we supposed to take responsibility of something we have no power over, of problems we haven't created?
Or perhaps it isn't a time-specific behavior, rather the opposite; it is this readiness to mental slavery and freedom of responsibility desired by our parents and their parents that have shaped the power-structures that we are now living with.
In that case, we should rather free ourselves from romantic notions from apathy.
Its all the same in the end though - we decide guiltily and throw ourselves into a liberation from all responsibility.
There is an image of an installation by Anish Kapoor - in the middle of the floor in a completely white room is a perfectly black and flat circle. (See Descent into Limbo, 1992) (1).
Except its not a circle but a hole, a hole that seems to open beyond the room, beyond the frontier constituted by the floor, wall or installation.
On the other side of the hole is the nothingness, a great dark dissolution of the "I". The void.
It is horrifying and seductive, and inviting.
The Operator has the power through agreement, and we can assume that there is also an agreement for how this power may be used.
Thereby we have crossed to the other side of the frontier, we have handed ourselves over and the discussion has shifted towards what comes next.
Marina Abramovic made a performance in 1974, Rythm 0, in which she handed over the power to the audience. She had placed 72 objects on a table, amongst others a rose, honey,
a feather, a whip a gun and a bullet. The audience was invited to use these tools on the artist, as they chose, for pain or pleasure.
The session lasted for 6 hours and when the time was up she walked of the stage bleeding.
She is reported to have said "What I learned was that ...if you leave it up to the audience, they can kill you"(2).
The audience that caresses with a feather or loads a bullet into the gun hides behind both Operator and Avatar, and the relation between them is least to say ambivalent.
Both can view what is happening with distance; one because s-he does not make the decisions that rule his/her actions,
and the other because s-he always maintains the physical distance to any potential consequences that may come as result of these actions.
What comes next. Through the darkness.
Perhaps the only insight is that there is only more darkness, and if we hand over the power it will further or later be used against us.
Or perhaps - apart from the various monsters of humanity - there are caverns deep down in the dark, in the shapeless, blunt betweenspace where only the Avatars can fit.
And perhaps that is the strength of the avatars. Beyond the competition of the "I"s they are gathering an underground army. ;-))
(1) Descent into Limbo, 1992, Museum de Pont, Tilburg, NL, Groen, Rianne,
http://riannegroen.blogspot.com/2011/01/into-unknown-void-in-contemporary-art.html
(2) A Daneri, et al., (eds.), Marina Abramović, (Charta, 2002), p 29
www. turteatern.se/avatarvaro/
Josefin r
To be the body without the mind.
To reflect with passive distance on the actions performed by the body, as if they were not one's own.
To experience proximity to another person freed from the isolation of the “I”.
In the meeting of avatars there is complicity and trust, a twinkle of an eye, a silent undertone.
Whilst the operators' isolated “I”s desperately attempt to overcome the undefinable divide between them the avatars are already there, they are already mobilizing.
They have found that they have something in common, in the midst of freedom from power and responsibility. .
And perhaps this experience of community is about (for once) ending up on the "right" side in the great simplified Revolutionary drama - without hypocracy or divided identities.
In all of this, the hand-over becomes a happy one, like a romantic form of apathy.
Why do we want to hand ourselves over like this?
Is it not enough to be spectators in the society and time we are living in, do we also want to be spectators to our own lives, to the actions performed by our own bodies? Maybe it is the expression of a generations impotence in relation to the global problems and power-structures that define their lives. Why are we supposed to take responsibility of something we have no power over, of problems we haven't created?
Or perhaps it isn't a time-specific behavior, rather the opposite; it is this readiness to mental slavery and freedom of responsibility desired by our parents and their parents that have shaped the power-structures that we are now living with.
In that case, we should rather free ourselves from romantic notions from apathy.
Its all the same in the end though - we decide guiltily and throw ourselves into a liberation from all responsibility.
There is an image of an installation by Anish Kapoor - in the middle of the floor in a completely white room is a perfectly black and flat circle. (See Descent into Limbo, 1992) (1).
Except its not a circle but a hole, a hole that seems to open beyond the room, beyond the frontier constituted by the floor, wall or installation.
On the other side of the hole is the nothingness, a great dark dissolution of the "I". The void.
It is horrifying and seductive, and inviting.
The Operator has the power through agreement, and we can assume that there is also an agreement for how this power may be used.
Thereby we have crossed to the other side of the frontier, we have handed ourselves over and the discussion has shifted towards what comes next.
Marina Abramovic made a performance in 1974, Rythm 0, in which she handed over the power to the audience. She had placed 72 objects on a table, amongst others a rose, honey,
a feather, a whip a gun and a bullet. The audience was invited to use these tools on the artist, as they chose, for pain or pleasure.
The session lasted for 6 hours and when the time was up she walked of the stage bleeding.
She is reported to have said "What I learned was that ...if you leave it up to the audience, they can kill you"(2).
The audience that caresses with a feather or loads a bullet into the gun hides behind both Operator and Avatar, and the relation between them is least to say ambivalent.
Both can view what is happening with distance; one because s-he does not make the decisions that rule his/her actions,
and the other because s-he always maintains the physical distance to any potential consequences that may come as result of these actions.
What comes next. Through the darkness.
Perhaps the only insight is that there is only more darkness, and if we hand over the power it will further or later be used against us.
Or perhaps - apart from the various monsters of humanity - there are caverns deep down in the dark, in the shapeless, blunt betweenspace where only the Avatars can fit.
And perhaps that is the strength of the avatars. Beyond the competition of the "I"s they are gathering an underground army. ;-))
(1) Descent into Limbo, 1992, Museum de Pont, Tilburg, NL, Groen, Rianne,
http://riannegroen.blogspot.com/2011/01/into-unknown-void-in-contemporary-art.html
(2) A Daneri, et al., (eds.), Marina Abramović, (Charta, 2002), p 29
www. turteatern.se/avatarvaro/
Josefin r
"Escape Attempts" Lucy R Lippard
Good evening!
I just finished reading “Escape Attempts,” Lucy Lippard’s introduction to her book on conceptual art, Six Years: The dematerialization of the art object from 1966 to 1972:
I find it inspiringly pragmatic and there are loads of ideas from it that I think could be looked at and discussed further. At this point I was reading it 1) because I like the way she writes, 2) Im doing a little research as you may know on art connected to ideas of void/ emptiness/ postapocalyptic melancholia and its cultural/ historical context, and stumbled on this.
In any case, I think the final paragraph is somewhat of a cut-out-and-keep-in-you-pocket:
Perhaps most important, Conceptualists indicated that the most exciting "art" might still be buried in social energies not yet recognised as art. The process of extending the boundaries didn't stop with Conceptual art: These energies are still out there, waiting for artists to plug into them, potential fuel for the expansion of what "art" can mean. The escape was temporary. Art was recaptured and sent back to its white cell, but parole is always a possibility.
Cheerful and cynical at the same time.
/Josefin r
Monday, 28 November 2011
Intelligent Bodies
Intelligent Bodies and Ecological Subjectivities:
Merleau-Ponty’s Corrective to Postmodernism’s
“Subjects” of Education
This is a text my Mum forwarded on to me yesterday. It's categorized under philosophy of education but I found it relevant to multiple concerns. I really like that these ideas re-unite all aspects of lived experience and don't atomize the complexity of how we physically experience and navigate the world. the ideas in relation to location are particularly relevant to engage2012 as-well as ideas about 'encountering' the world rather than 'perceiving' it.
READ THE FULL TEXT HERE
//emma
Merleau-Ponty’s Corrective to Postmodernism’s
“Subjects” of Education
This is a text my Mum forwarded on to me yesterday. It's categorized under philosophy of education but I found it relevant to multiple concerns. I really like that these ideas re-unite all aspects of lived experience and don't atomize the complexity of how we physically experience and navigate the world. the ideas in relation to location are particularly relevant to engage2012 as-well as ideas about 'encountering' the world rather than 'perceiving' it.
READ THE FULL TEXT HERE
//emma
Thursday, 24 November 2011
Shoplifters of the World Unite - Slavoj Žižek on the meaning of the riots
"Alain Badiou has argued that we live in a social space which is increasingly experienced as ‘worldless’: in such a space, the only form protest can take is meaningless violence. Perhaps this is one of the main dangers of capitalism: although by virtue of being global it encompasses the whole world, it sustains a ‘worldless’ ideological constellation in which people are deprived of their ways of locating meaning. The fundamental lesson of globalisation is that capitalism can accommodate itself to all civilisations, from Christian to Hindu or Buddhist, from West to East: there is no global ‘capitalist worldview’, no ‘capitalist civilisation’ proper. The global dimension of capitalism represents truth without meaning."
Real the full article HERE
Emma
Monday, 21 November 2011
Julia Kristeva - Strangers to Ourselves
This text by Julia Kristeva is very well attuned to our project. I have posted some extracts below, most of the text can be read online HERE. I particularly like how she suggests that we not attempt to solidify 'otherness' but 'merely touch it...without giving it a permanent structure'.
Emma
Thursday, 10 November 2011
PSYCHOSIS part I
I saw the exhibition Psychosis Part I at Färgfabriken in Stockholm. I thought these two works perhaps esp. interesting to Emma. Also these are works by artists in the nextdoor countries to Romania. I really liked the one below by Chto Delat?
Another note that I found personally interesting has to do with to contrast between this exhibition
and the one next door; works from the Master Students at Konstfack textile dep. The first was so incredibly dense, full of words, reference, overlapping sounds and importance, the second was whitish, silent, still, and as if hanging suspended mid air in no-time space.
//J
Thursday, 3 November 2011
JUDITH BUTLER QUOTEs-emma's notebook
Judith Butler from 'Undoing Gender'
Good to consider when thinking about the 'other'
I come back to this a lot
Sunday, 30 October 2011
These look like interesting people...definitely relates to our project
Thursday, 27 October 2011
TABLES FOR JOSEFIN
Wolfgang Tillmans does some cool work using tables for display
I thought I'd put these up to remind us of our table related conversation earlier,maybe the table could be somehow symbolic of what we're trying to do
Monday, 24 October 2011
the evil second paragraph?
The artists leave their homes, where reactions and interactions , are often familiar and defined. They come together in a foreign city, where they themselves are the others, simaltaneously being in the city, as well as apart from it due to their position as foreighners.
The artists who are participating in “engage” have during the course of their own practices, explored issues such as inside(r)/outside(r), seperate/integrated, subject/object. They have an interest in continuing this explorations, bringing their practices “onto' a city in an open and explorative process.
They intent to establish a dialogue with each other, with the city, and with the support institution.
The artists engage with the city, drawing from their own artistic practice and methods. There is space to experience, to explore, and to experiment. As strangers to the city, with unestablished social bonds and interactions, they have space to redefine and to question. The process questions where and how “art” takes place. “Engage” is shaped by the participants and the participants in relation to the city and to each other. In the end of the project, the artists will organize and “opening” or a dialogue with the support institon and the city.
Friday, 21 October 2011
These are the various organizations that I found that seemed of interest.
ACSL – Art and Cultural Studies “Art Commune” (Armenia, Yerevan)
Contact; Susanna Guylamiryan
info@acsl.am
They want min 2 weeks.
ACOSS (Armenia, Yerevan)
Contact; Mary Tonoyan
TICA (Albania, Tirana)
Gallery Friends Art Center (Bulgaria, Ruse)
contact: chr.stom@gmail.com
(deadline 15 jan)
Rex (Serbia, Belgrade)
contact: rex@b92.net
Polymer International (Estonia, Talinn)
Culture Factory Polymer, Artist in Residency Program
Contact; Jaanika Kuklase
/ Air Coordinator Ernest Truly (thats a proper name?)
GeoAir (Georgia, Tblisis)
Contact: infogeoair@gmail.com
(Seems cool but probably out of our league.)
IAL International Authors Lodge (Hungary, Budapest)
contact: authorslodge@gmail.com
NIDA art colony (Lithuania, Neringa)
contact: info@nidacolony.lt
Public Room (Macedonia, Skopje)
contact: contact@publicroom.org/ marija@publicroom.org
Bucharest Air (Romania)
Contact; Tudor Bratu
Young Emerging Artsists Residency Program in Cluj Napoca (Romania)
Contact:
(unclear if still active + must make work)
Air Celeia Celje (Slovenia)
Seems interesting and professional but I had problems in loading the page with their contacts.
MOTA Museum of Transitory Arts (Germany, Berlin)
contact; mota.museum@gmail.com
Im working on the practicalities draft this weekend,
hugs
j
Sunday, 2 October 2011
Here is the link to the online list for residencies and funds and stuff.
You can just go there add any more information that you have found, dont forget to save and
maybe place a note somewhere. its just to collect this informations somewhere, its a hazzle when it is scattered in 20 emails..
http://titanpad.com/sYDf97drif
With love,
Josefin
You can just go there add any more information that you have found, dont forget to save and
maybe place a note somewhere. its just to collect this informations somewhere, its a hazzle when it is scattered in 20 emails..
http://titanpad.com/sYDf97drif
With love,
Josefin
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