tag:blogger.com,1999:blog-14109760314802689622024-03-12T20:30:18.087-07:00NOIDEAAnonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.comBlogger27125tag:blogger.com,1999:blog-1410976031480268962.post-40347408014318029642016-10-18T07:44:00.000-07:002016-10-18T07:44:08.976-07:00Vigil for the Death of Free Time<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Bevis Fenner</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /><i>Vigil for the Death of Free Time</i> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />Minimalism was originally a reaction to the individualistic excesses and bank-friendly ambivalence of Abstract Expressionism, which Nelson Rockefeller once described as “free enterprise painting”. If it were to emerge as a new movement in 2016, then it would undoubtedly represent a similar stance towards the flexibility and obedience of today’s instrumentalised artistic labourers. For today’s culture of voluntarism and precarity is kept alive by nothing less than the ghost of modernism. Whether they like it or not, artists are sustained by their egos and the myth that they are making a difference. In reality, they are instrumental in creating a post-welfare culture of voluntarism, sustained by the endless labour of self-making. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">I present no alternatives or outsides to the labour power that artist’s frequently misrecognise as capital, except for a futile call for the withdrawal of labour. The clock is an ironic counterpoint to this act, representing the end of clock-time in an age of self-regulated / self-surveilled labour, in which there is no ‘free time’ and the tick of the clock is subsumed into the heartbeat of subjective labour. Performing the act of ‘killing time’ highlights the futility of non-participation. However, in the context of a conference, only a fool would refuse the opportunity to network, because without social networks we are adrift in a sea of signs and possibilities, and unplugged from the cybernetic feedback systems that sustain our labour. The performance serves not only as a reminder that refusal of work is a dangerous and potentially suicidal game but also an act of labour in itself; turning away from the shadows of illusion and language, and towards the shadow within and the potentiality of Jung’s “dark night of the soul”.</span></span></div>
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<a href="http://www.norikosuzukibosco.com/" target="_blank"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Photos by Noriko Suzuki-Bosco</span></span></a></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-74629981785352512282016-08-23T00:58:00.000-07:002016-08-23T01:09:43.148-07:00The Politics of the Poetic Imagination<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">In 1929 Lenin's wife and educator Nadezhda Krupskaya publicly attacked the work of children’s poet Kornei Chukovsky – in particular his famous poem ‘Crocodile’ – for not addressing the social concerns of the communist project and for misrepresenting nature. As a result of a 'resolution' passed by the parents of the Kremlin’s kindergarten, Chukovsky’s work was subsequently banned in the Soviet Union for decades. Similarly, in an <a href="https://www.theguardian.com/education/2015/apr/07/key-stage-1-poetry-assessment-wrecks-poems-for-children" target="_blank">article by British children's poet Michael Rosen</a>, he highlights current attempts of governmental control to close down poetic meaning in the national curriculum. After giving a detailed explanation of the infinite possibilities of poetry he describes the new ‘official view of what poetry is for’, in the Standards and Testing Agency, Key stage 1 English reading, sample questions, marks schemes and commentary for 2016 assessment: </span></span><span style="font-family: "Trebuchet MS",sans-serif;"></span><div style="text-align: left;">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">First, we discover that we read a poem in order to “retrieve” exact and correct information from it, and we are supposed to “infer” exact and correct meanings from it. This means that it’s not for speculation, interpretation, or for making a connection between the reader and the poem at the level of empathy – that is, sharing our thoughts and feelings. Instead, a poem is a chunk of language to be used for purposes seen as important by government-hired experts (Rosen, 2015).</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Here, Rosen seems to be illustrating the open nature of poetic meaning and its tendency to affect partial understandings that are contingent on empathetic speculation. But despite Rosen's laudable motives defend the value of poetry on the grounds of substantive human emotion, it is hard to 'pin down' poetic meaning, even in these terms. The poetic image is an open form, which nurtures what Barthes terms ‘obtuse meaning’ or that which ‘appears to extend outside culture, knowledge, information... opening out into the infinity of language... it belongs to the family of pun, buffoonery, useless expenditure’ (Barthes, 1978: 55). Thus, it naturally understood by children, who do not seek to rationalise meaning in productive or economic terms. Thus in another discussion Rosen argues that poetry is a praxis of philosophical inquiry. Poetry is an opening onto playful dialogue with the world, centred on feelings, philosophical ideas – made simple but not simplified – a way of defamiliarising the familiar, of looking at the world in ‘unfamiliar ways’, of playing with the openness of meaning, ‘suggestiveness, open-ended questioning and ludic approaches to language all disappear under this government onslaught’ (Rosen in Boroditskaya & Dugdale, 2015). The implication that children’s understanding of poetry is merely a means to an ends – of passing tests, which put them on the route to 'success' in later life is deeply concerning as it seems to be bypassing the essence of childhood experience at an early age, which in turn subordinates artistic (if not human) experience, to political and economic needs. It suggests that the ways in which we understand the world might have negative consequences on our ability to succeed in socio-economic terms. Bachelard characterises the phenomenological exploration of the poetic image as being fruitful by virtue of fact that it has ‘no consequences’. He argues that the poetic image is ‘the property of a naïve consciousness; in its expression a youthful language’ (Bachelard, 1992: xix). Indeed, Sasha Dugdale’s response to Rosen’s commentary reiterates this point: </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">After such exercises children will be right to wonder what the point of poetry is. This is sad because my experience in schools tells me that children instinctively know what poetry does, whereas adults have forgotten. Teachers would be better off asking questions which allowed children to show them how to read a poem. Children understand that a poem is a thing to be opened up and entered, and not to be closed and sewn tight with the thread of meaning (Dugdale, 2015).</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">These are sobering lessons as the what happens when governmental control attempts to close down meaning and denies free reign of the poetic imagination. However, this is not to say the poetic imagination is apolitical. On the contrary, the opening out of meaning in images and words to give space for the expression of Being, is arguably the single most political act there is. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">We live in a time of neoliberal politics, in which we are all self-making enterprises – market players, engaged in systems of choices, which not only produce ripples of ethical consequences within global societies but also impact deeply upon the ways in which we live our own lives. Our choices are not simply of an ethical nature but also involve ontological dimensions as the ways in which we 'choose' to interact with the world determines the potential for being-in-the-world as we open out or close down ‘psychic space’ and the liminal possibilities of spaces (Craib, 1998). Our phenomenological experience of the world is, to some extent, a discontinuum from narratives of self-hood, thus poetic understandings of the world are situated, contingent and liminal. As Bachelard notes, ‘the poetic act has no past... the poet speaks on the threshold of being’ (Bachelard, 1992: xv-xvi). Indeed, it is possible to argue that the poetic imagination is the last retreat for everyday life. For Seigworth & Gardiner (2004), the everyday is emergent form, which mops up meanings from unfolding and fragmented events to produce ‘a whole that reconstitutes itself in each moment... [and moves] alongside all of the other moments of the day-to-day’. The authors also suggest that the everyday moment is not a ‘closed-off’ whole ‘but instead, perpetually opens up: an open totality arising with each moment, a beach beneath every cobblestone’ (Seigworth & Gardiner, 2004: 141-142). In other worlds, the everyday is a sequence of synchronically produced moments, each distinctly different from each other, and each sucking in its own peripheral world of contingent meanings. Yet, the politics of self push ontic existence into an ever narrowing experiential field as consumer representations dominate not only our impetus for creative expression but also the ways in which we understand and utilise time. As Crary (2014) suggests, the reconfiguration of natural temporal flows with those of late-capitalism, marginalises more liminal understandings of the interplay between memory, imagination and lived spatial experience. It leaves no space for the poetics of space. Thus, our habitation of the narrowing discursive realm of late-capitalism can only produce a continuum of ontological loss – as temporal, spatial and representational forms continue to truncate at an accelerated and exponential rate; as the time-frames we occupy, the spaces we inhabit and the meanings we assimilate become increasingly regulated, compressed and superficial. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The phenomenon of media-induced nostalgia for example, supplants the inchoate and nascent meanings of childhood memories, with consensus representations; the joy of remembering becomes the task of never forgetting. Yet paradoxically, forgetting is exactly what occurs as our experiential memories are slowly eaten away and replaced by the tumor of consensus reality. The nostalgic image becomes just more cellular material for the cancerous work of self-fashioning. Bloomer argues that the notion of nostalgia, which has its origins in the notion of homesickness ‘from the Greek, nostos – return home, and algos – pain’, is connected to a desire to return to ‘the first home, that dark, warm, saltwatery, pusing vessel’ of the womb (Bloomer, 1996: 16). And yet, how has a term for the inexplicable feeling of loss and dislocation from primal dwelling become yet another consumer discourse? Our memories of watching a particular TV program, for example, may be more connected with the complexities of dwelling – emergent or concealed meanings housed in the ‘abode’ of the soul – than the need to enact group unity via shared reference points from the nostalgia industry (Bachelard, 1992). In the sleeve notes for an album by the pop group Saint Etienne, music journalist Peter Paphides describes a nostalgic feeling associated with the childhood memory of watching daytime TV when he at home with a cold and couldn’t to go to school: </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">That Pebble Mill feeling... would set in at roughly 11am when the educational programmes, shows like 'Picture Box' and 'How We Used to Live', would come on. It was kind of a mixture of guilt that you weren’t at school and boredom. Boredom because there was nothing on television, it was cloudy outside and mum was in the kitchen doing things that mum’s did. Then after lunch... an intangible air of melancholia would set in. The thing is, of course, at this age you don’t know you’re feeling melancholy (Paphides, 1997).</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Whilst, it is valid to argue that the above anecdote is very much a re-presentation through discourse, it has a deeply poetic content hidden in its mundane descriptions of home. Although the language itself is not particularly poetic, the narrator seems to be doing more that producing discourse – he is tracing the emergence of being in order to preserve it. For Bergson (2008), the ontological function of art is defined as a kind of auto-translation of being. It is a translation of the ontological into the epistemological: the how we be, into the how we know. This draws strong parallels with Husserl’s notion of a primal impression-retention-protection process (1964), by which we preserve our sense of being in the pre-discursive realm. In other words, it is not simply a banal translation into representation: </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">What is the object of art? Could reality come into direct contact with sense and consciousness, could we enter into immediate communion with things and with ourselves, probably art would be useless, or rather we should all be artists, for then our soul would continually vibrate in perfect accord with nature (Bergson, 2008: 71). </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">This process of auto-translation has a private ontological function. It unconceals being and at the same time shelters it. It operates in covert ways to hide its ontological meanings from representation. In Heideggerian terms, the relationship between the ontological and the material (or earth), shelters world or the world as we know it pre-discursively, and ‘on which and in which’ we base our dwelling (Heidegger, 2011: 107). Thus, discursive relations with the ontological as illustrated in Paphides description, are not merely representations but are attentive praxes, which require a double-consciousness of the need to conceal being in order to unconceal it: the being that stands in the Being of beings. This intuitive understanding allows us to draw being out of Being but not to uproot it completely – instead gently sheltering it in words and images, simultaneously hiding it, both from and in discourse. However, the simplification of such a complex, paradoxical and responsive process into commoditised discourse is a triumph of Cartesian semiotic space in which the world becomes a series of objects to be manipulated to achieve a subjective ends – a discursive and symbolic realm of representation – over an objective semiotic space, which Kristeva (1984) terms chora: that which Edge describes as ‘a 'space' which holds the presignifying impulses, drives, feelings and sensations which predate the subject's entry into the symbolic and gendered subjectivity’ (Edge, 1999: 33). </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Capitalist re-production (or simulation) of ontic reality has become embedded in the fabric of everyday life or that fugitive field that was once seen as area for contestation, détournement and dissent in which the rules of play were there to be twisted and reshaped in the totality of each moment (de Certeau, 1988; Lefebvre, 1991; Debord, 2007). Debord, for example, suggests that ‘[t]he critique and perpetual re-creation of the totality of everyday life, before being carried out naturally by everyone, must be undertaken within the present conditions of oppression, in order to destroy those conditions’ (Debord, 2007). However, how are we to determine what is meant by carrying out ‘naturally’, when all our natural drives are diverted into the multifarious technological instruments of late-capitalist systems? Temporal and spatial experience seem unquestionably 'natural' and yet as Urry notes, ‘capitalist accumulation is based upon the annihilation of space and time’ (Urry, 1995: 7). For Crary, this questions not only the global ethical consequences of everyday production within the temporalities of late-capitalism, but also their personal ontological impact as the perpetuation of individual historically narratives of belonging is replaced with technological mediation of a perpetual stasis:</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Individual habituation to these tempos has had devastating social and environmental consequences, and has produced a collective normalization of... ceaseless displacement and discarding. Because loss is continually created, an atrophied memory ceases to recognise it as such. The primary self-narration of one’s life shifts in its fundamental composition. Instead of a formulaic sequence of places and events associated with family, work and relationships, the main thread of one’s life-story is the electronic commodities and media services through which all experience has been filtered, recorded, or constructed (Crary, 2014: 58-59). </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">For the poetic imagination to function it must operate on the fine line between loss and retrieval. Poetic meaning is vulnerable and always at risk of negation. And so it should be, because there-in lies the task of the poet or artist – to mediate the processes by which meaning is opened-out or closed-down – to maintain a dialogue with the world. For Macleod and Holridge, art is ‘a fort-da game of playing out loss and retrieval as the artist comes to terms with meanings which are transient. What art offers, above all, is a speculation’ (Macleod and Holridge, 2005: 198). Thus, an art form such as a poem, film or painting must sustain its speculative state rather than fix it in object-hood and representation. If poetic meaning were not vulnerable, then it would be closed-down, lifeless and without nuance. The poetic imagination cradles the fleeting, the contingent, the ephemeral, the playful, the heterogeneous and the nuanced; for as film maker Albert Mayles alerts us to, “tyranny is the deliberate removal of nuance”. </span></span></div>
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<b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">REFERENCES </span></span></b></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Bachelard, G. (1992) [1958]. The Poetics of Space. Boston, MA: Beacon Press. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Barthes, R. (1978). 'The Third Meaning: Research notes on some Eisenstein stills'. Image, Music, Text. New York and London: Hill & Wang. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Bergson, H. (2008) [1914]. 'Laughter: An Essay on the Meaning of the Comic'. Rockville, Maryland: Arc Manor. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Bloomer, J. (1996). 'The Matter of the Cutting Edge'. Desiring Practices: Architecture, Gender and the Interdiciplinary. London: Black Dog Publishing. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Boroditskaya, M. Dugdale, S., (2015). 'Michael Rosen and Marina Boroditskaya: Children’s Poetry and Politics: a conversation'. Modern Poetry in Translation, No.2. 2015.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Craib, I. (1998). Experiencing Identity. London: Sage. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Crary, J. (2014). 24/7: Late Capitalism and the Ends of Sleep. London: Verso. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Debord, G. (2007) [1962], 'Perspectives For Conscious Changes in Everyday Life'. Situationist International Anthology. Edited and translated by Ken Knabb. Berkeley, CA: Bureau of Public Secrets. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Dugdale, S. (2015). 'Editorial'. Modern Poetry in Translation, No.2. 2015. Oxford: MPT.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Edge, S (1999) ‘Photography and the Self’ CIRCA Irish and International Contemporary Visual Culture Vol. 90: 30-35. Dublin: CIRCA.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Heidegger, M. (2011) [1978]. 'The Origin of the Work of Art'. Basic Writings. Edited by David Farrell Krell. London: Routledge. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Macleod, K. and Holdridge, L. (2005). 'The enactment of thinking: the creative practice Ph.D.'. Journal of Visual Art Practice, Vol. 4 (2;3). London: Taylor & Francis. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"> Paphides, P. (1997). Sleeve notes for Saint Etienne – Continental. Tokyo: L'appareil-Photo. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Rosen, M. (2015). 'Dear Ms Morgan: your guidance is a mini-syllabus on how to wreck poetry'. Guardian Online, 7th April 2015. Accessed, 29/07/2015: http://www.theguardian.com/education/2015/apr/07/key-stage-1-poetry-assessment-wrecks poems-for-children</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Seigworth, G.J. & Gardiner, M.E. (2004). 'Rethinking Everyday Life: And then nothing turns itself inside out'. Cultural Studies Vol. 18, No. 2/3: 139–159. London: Taylor & Francis. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Urry, J. (1995). Consuming Places. London: Routledge. </span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-48939788101996974842016-06-21T10:33:00.000-07:002016-06-22T02:48:39.316-07:00The Imaginative Tourist Trail for the New Forest Arts Festival 2016<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tyMIBkf0qM0NLalTVEnB92fg7-drH9exmriA3aA13oq4CNNkNdppk54YlurhjeYcezeTBpLGxx5s6HW8mjc90sM841TFz-1708_JSmx_iF6X6bb_jfRCuLl99lPTHMsHV0w_2WZfUuI/s1600/DSC_1357.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tyMIBkf0qM0NLalTVEnB92fg7-drH9exmriA3aA13oq4CNNkNdppk54YlurhjeYcezeTBpLGxx5s6HW8mjc90sM841TFz-1708_JSmx_iF6X6bb_jfRCuLl99lPTHMsHV0w_2WZfUuI/s640/DSC_1357.JPG" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.newforestnpa.gov.uk/events/event/1161/tourism_collective_footpath_event" target="_blank">The Imaginative Tourist Trail</a> is a social art project I am currently running as part of Everyday Tourist Collective (ETC) with Noriko Suzuki-Bosco and Dr Yvonne Jones. The project was commissioned for the New Forest Arts Festival 2016 and explores the notion of authentic experience of place when it is seen through someone <span style="font-family: "trebuchet ms" , sans-serif;">a fictitious frame</span>. We have produced an edition of 200 Interactive Trail Guides / maps in the hope that visitors will engage with the 2.6 mile trail, beginning at <a href="http://fightingcockspub.com/" target="_blank">The Fighting Cocks</a> pub <span style="font-family: "trebuchet ms" , sans-serif;">at </span>Godshill in the New Forest, to produce alternative narratives of the area. We printed the guides using risograph technology and included a series of prompts indexed to eleven alternative tourist sites on the trail. The prompts have <span style="font-family: "trebuchet ms" , sans-serif;">are not drawn from</span> <span style="font-family: "trebuchet ms" , sans-serif;">historical facts or official narratives <span style="font-family: "trebuchet ms" , sans-serif;">relating to</span></span> the sites and were designed to trigger the imaginations of participants and to inspire them to see the seemingly mundane through new eyes. We hope that the project will help visitors to re-image mundane rural sites and to generate a rich, multi-layered palimpsest of experiences indicating the complex nature of our engagement with place as mediated through both official narratives and emergent and unfolding understandings of our temporal, spatial and imaginative relations to site. All responses are submitted anonymously and have been used to conduct artist-led misguided tours, which have been taking place every Saturday during the course of the festival. </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgieNRKSXNnYBWxlug5YBBeRyew80K93dXbEnaDSDuIDEQOGgmp-K0IZGFprcPNcdBChyphenhyphen7YXNBKXi_lY3scHxlUeNqgXUCb8s-7qBQWs_LXrQJ6yMXfQRtmL9TxFWk40INcOXwXF8LX0ow/s1600/DSC_1313.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgieNRKSXNnYBWxlug5YBBeRyew80K93dXbEnaDSDuIDEQOGgmp-K0IZGFprcPNcdBChyphenhyphen7YXNBKXi_lY3scHxlUeNqgXUCb8s-7qBQWs_LXrQJ6yMXfQRtmL9TxFWk40INcOXwXF8LX0ow/s640/DSC_1313.JPG" /></a></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Noriko Suzuki-Bosco and Dr Yvonne Jones</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Based on the understanding that tourism offers a way of shaping people’s experience of reality through narrative, the two week project hopes to bring into question the notions of authorship and authenticity in both art and tourism. Specifically referring to Foucault's concerns about who authorises the author within 'the functioning conditions of specific discursive practices' (Foucault, 1998), we have attempted to facilitate an imaginative environment in which participants are able to mediate between personally authentic place meanings and those authorised by cultural and institutional discourse to develop their own versions of ‘truth’. Indeed, our belief in narratives or histories as absolute truths, limits our experience of reality. Experiencing a place through <span style="font-family: "trebuchet ms" , sans-serif;">a fi<span style="font-family: "trebuchet ms" , sans-serif;">cti<span style="font-family: "trebuchet ms" , sans-serif;">t</span>i<span style="font-family: "trebuchet ms" , sans-serif;">ous frame</span></span></span> not only questions the authenticity of experience but also allows us to engage with reality as imaginative play.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3XmqIFm7G58EAldXtu-k_298j5Oe7satZGe5Ttngamu4LEFGqBFBtC2OjVr0sSlj4f8V8RAkBlfHTr4WCc0klLIz6woB53NW7lHnymXc9gTC5TJZwaC3QY8oBflsTyeCreUNdkJ1fxe0/s1600/DSC_1316.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3XmqIFm7G58EAldXtu-k_298j5Oe7satZGe5Ttngamu4LEFGqBFBtC2OjVr0sSlj4f8V8RAkBlfHTr4WCc0klLIz6woB53NW7lHnymXc9gTC5TJZwaC3QY8oBflsTyeCreUNdkJ1fxe0/s640/DSC_1316.JPG" /></a></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The Imaginative Tourist Trail </i></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i> </i> </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Interactive Trail Guide</i> (edition of 200)</span></span></div>
<div class="western" style="margin-right: -0.1in; text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div class="western" style="margin-right: -0.1in; text-align: left;">
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<div class="western" style="margin-right: -0.1in; text-align: left;">
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-55241170189985860562016-06-19T05:17:00.002-07:002016-06-21T11:59:38.065-07:00Collaboration, Conversation and the Intertwining of Material and Immaterial Worlds: a reflection on the Mothership residency<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "courier new" , "courier" , monospace;"></span><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;">In April this year I began a four week residency as part of Anna Best’s Mothership Residencies project. I used the opportunity open up the notion of conversation to the possibilities of collaboration both with humans and non-humans. Drawing upon Deleuze and Guattari’s ideas of affects and becoming, and Karen Barad’s explorations of human and non-human agents, I set out to start a conversation about the nature of conversation and collaboration in the art-site relations of the artist’s residency. At the Mothership person-site relations became part of an affective praxis in opposition to alienating and dehumanising effects of neoliberalism – individualism, competitiveness, exchangism, deskilling, social atomisation and so on. Harriet Hawkins (2014) stresses the importance of shared labour – literally collaboration – in transforming individual and collective consciousness. She uses gardening – a key aspect of my residency – as an example of a ‘grounded’ practice that has the power to disrupt and reconfigure the habitual relations of everyday life: </span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;">We could suggest that the physical, discursive, and haptic experiences of shared labour… was part of the creation of a rupture in everyday practices from within which new identities and shared consciousness could emerge (Hawkins, 2014: 170). </span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"></span><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;">The unique labour relations of the residency were an initial source of suspicion as I adopted the cynical post-human perspective of trying to analyse the power relations between host and guest and the exact terms of labour exchange. However, in attempting to calculate and quantify these relations, I found that rather than reflecting the neoliberal idea that altruistic acts are are often thinly veiled opportunism and that everyone is ultimately self-serving, the residency provoked a sense that the reciprocal nature of the collaboration had far more humane dimensions. It seemed that the more I tried to quantify the exchange, particularly in relation to labour value, because I was not paying money to be there, the more the things shattered to reveal human truths and a qualitative value way beyond any kind of contractual arrangement. Thus my attempts to provoke a breakdown of assumed neoliberal labour relations were unjustified as the layers fell away to reveal a very human conversation about not only the need for people to live together but also the importance of bringing things together that are usually held apart. Instead of finding an illusionary micro-utopia sustained by privilege, which masked true power and property relations, I found a situation of honesty – a genuine attempt to make new worlds and recuperate old ones. Small-scale organic farming is an uphill struggle where the old binaries of the humans pitted against nature are initially reinforced, however, in responsible and ethical engagement with complex ecosystems, culture / nature binaries are eroded. Pestilence ceases to become a non-human enemy to be wiped out with petrochemicals when ecosystems are in balance. The context for the residency was not only thought-provoking but also provided a space for dialogue between humans and non-humans alike – “a potential space for collaborative thinking”, as one of my friends put it. One of the key things that emerged from the residency on reflection was the notion of ‘maternal space’ – of how, out of necessity, things of difference are brought together. Instead of seeing disruptions as inconveniences that break our ‘trains of thought’, by being open to ‘external’ factors and intrusions we are able to open out to new and emergent ways of being and seeing that foster generative creative processes. My challenge was to move beyond provocation as a means of ‘exploding’ power and property relations, and to embrace collaborative conversation as a means of gently unpicking the complexities of context without ignoring tensions and differences. In the words of Harriet Hawkins (2014), to develop truly collaborative art-site relations we must ‘remain open to the generative complexities of a given site… to be able to recognise the problematics of context, without sacrificing the ability to work productively within the community…’ (Hawkins, 2014: 166). </span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;">Hawkins, H. (2014). For Creative Geographies: Geography, Visual Arts and the Making of Worlds. London: Routledge.</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;">You can read my feedback to host artist <a href="http://annabest.info/">Anna Best</a> on her <a href="http://mothershipresidencies.tumblr.com/post/145308652811/bevis-fenner">Mothership Residencies blog</a>.</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;"><i>Figure of Eight</i> (installation views)</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;"><i>Flesh of the World: Powerstock / Abu Ghraib</i> (installation view and details) </span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;"><i>Asymmetrical Codependence</i> (installation views / details)</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;">Perfomance stills from <i>Spring Cleansing Ritual II: <a href="http://www.cleanforthequeen.co.uk/home/2365">#cleanforthequeen</a></i></span></span> </div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: small;"><br /><i>The Tower (Inverted)</i> </span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-69053483197394203002016-06-14T07:22:00.002-07:002016-06-19T02:57:11.863-07:00Barthes / Burgin at John Hansard Gallery, Southampton, 13th February-16th April<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJm0oi5XhvlQpNwD5GAZ5Hqe9XJ-Z42THXiPSFqd8IoHldJS4i9FrWu_Y07cOwSqMRq5OYYCmOcfHYtw9LEtknrDjPNZXA0jrfp6ekacBVEaLM6tzCWlXb_XcqQftz1AiSGd511aPHDGU/s1600/roland-barthes_website-6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJm0oi5XhvlQpNwD5GAZ5Hqe9XJ-Z42THXiPSFqd8IoHldJS4i9FrWu_Y07cOwSqMRq5OYYCmOcfHYtw9LEtknrDjPNZXA0jrfp6ekacBVEaLM6tzCWlXb_XcqQftz1AiSGd511aPHDGU/s640/roland-barthes_website-6.jpg" width="640" /></a></span></span></div>
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<span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;">Roland
Barthes, Dessin n°393, daté du 21 mai 1972. </span></span>
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<span style="font-family: "calibri" , sans-serif;"><span lang="en-GB">The final
exhibition at the John Hansard Gallery, before moving from
Southampton University’s Highfield Campus to its new central
location, brings together two distinctly separate yet intimately
entwined critical thinkers. Shown for the first time in the UK are a
selection of Roland Barthes’ little known drawings brought together
with three pieces by Burgin. The influence of Barthes on Burgin’s
work both as a writer and artist is well known. Not only are several
of Burgin’s essays in direct dialogue with Barthes’ writings but
there is also a distinct theoretical influence on Burgin’s practice
as an artist. It seems like over-simplification to suggest that
Burgin, like Barthes, is first and foremost a writer, as the two
aspects of his practice are in obvious dialogue, yet there is also a
degree of separation between the two; a kind of translation which
takes place in order to allow the work to live beyond theory. Burgin
himself acknowledges a certain distance between himself and the
algorithmically driven cultural developments of alter-modernity.
Whilst he acknowledges his fascination with computer games, for
example, he prefers to observe them and to “</span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">read
about them”, which for him is “the way intellectuals experience
life”. This is not a scathing criticism of Burgin, however, for he
seems to retain a certain idealism about the generative potential of
games engines beyond the “pre-packaged”; beyond fixed rules and
terms of engagement. Indeed he is particularly interested in the
first-person video game </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>Dear
Esther</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">,
because there are “no rules”. </span></span></span>
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<span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">Barthes’
works on paper are somewhere between script and painting, which is
most obviously influenced by Cy Twombly, whom Barthes wrote about,
most notably, in </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>Cy
Twombly: Works on Paper</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">
and </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>The
Wisdom of Art</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">.</span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en">
Barthes’ drawings are rhythmic and ideosynchratic; resembling
Japanese calligraphy, hand drawn maps and the repetitive ‘carefree’
motifs of phonebook doodles. They are worlds away from the
patriarchal violence and big-business spectacle of abstract
expressionism. They also have a joyous exuberance of one delighting
in the properties of drawing materials. His marks seem as considered
yet unselfconcious as those to be found on pen testing pads in
stationary shops. His images, if one can call them that, are anything
but representational. His placement of marks suggest a flow of energy
and dialogue between them that draws our attention to the paper and
undermines traditional figure-ground relations. Yet as his works on
headed hotel paper suggest, his fetishism in the action of applying
ink to paper and mark marking, in these terms, becomes merely a way
of guiding the speed and flow of ink and the pressure of the hand.
Therefore if these works are representations, they are traces of body
space, movement, muscle memory. Yet perhaps it is better to think of
them in the terms of the Situationists, as a </span></span></span><i><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en">détournement</span></span></span></i><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en">
of the image-making process. Barthes perverts the desire for
representation into a pleasurable act of what de Certeau terms
‘making do’ – a means of losing oneself in a meditative state;
a similataneous awakening of material consciouness and a putting
subjectivity to sleep. </span></span></span>
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<span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">Burgin’s
digital projections combine image and text or ‘intertitles’,
inserted between images. These include quotations from Barthes, Milan
Kundera and </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en">Philip
K. Dick. </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">The
three of Burgin’s works included in the exhibition – one of which
was commissioned especially – use games engines to produce what he
term’s ‘moving stills’, which, whilst animated, explore images
through subtle shifts that elaborate Renaissance perspectival
techniques via impossible viewing points. Burgin suggest that in
terms of image-making and in the context of the gallery space, these
works are a development of the representational tradition of painting
rather than photography or film. Yet there is also a great emphasis
on breaking down the constraints of Renaissance illusionism. In
presenting the viewer with impossible viewpoints, Burgin provides a
post-corporeal vision that mirrors the transcendence of internet
technologies. </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en">Likewise
this disorientating reverie in the unpredictability of the </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en"><span style="font-style: normal;">text
disunifies and fragments subjectivity and dislocates </span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en"><i>Text
</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en"><span style="font-style: normal;">from
</span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en"><i>Work</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en">.
In other words it liberates the utterence from the speaker, the
signifier from the signified, the script from it’s institutionally
supported or authorial reading / writing. And what is left, Barthes
would describe as </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en"><i>signifiance</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en"><span style="font-style: normal;">:
</span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en">an
open and generative process of textual and inter-textual
potentiality. </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">Burgin
brings texts together in open and contingent ways, yet prevents their
internal or cross pollination. He is the horticulturist that keeps
the bees from the flowers or removes their stamen or pistils;
neutering meaning and thus the fruition of Work. The Textual
pleasure, as Barthes calls it, comes from the oscillation between
familiarity and the shock of disorientation at the breakdown in
language; the lack of definable fruit. The opening up of desire
presents the vertiginous void beneath it. In this direction, Burgin
is more of a reader than a maker; a flirter with texts. His practice
becomes a pleasurable dance across a multiplicity of texts. He
touches the petals of a multitude of flowers, yet collects pollen
from none. In a sense, Burgin does not commit to knowing or being.
His work is a flirtation with </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>heterotopia</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">:
other spaces, other ideas, other possibilities, other beings. It
becomes a way of foregrounding his enunciations so that his
contingent utterances are not bound to a singular narrator / author.
He takes pleasure in actively demonstrating the lack of distinction
between reader and writer. </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>He
</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">is
not making anything;</span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>
he</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">
is lost in textual production; </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>he</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">
is lost in </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>Text</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB">.
This is not simply to say that in his cerebral transcendence he
becomes incorporeal, but that in the hybrid composition of
authorship, the subjective whole is lost. To quote Barthes’ most
famous essay </span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i>The
Death of the Author</i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">:
‘</span></span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">L</span></span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">iterature
is that neuter, that composite, that oblique into which every subject
escapes, the trap where all identity is lost, beginning with the very
identity of the body that writes’. Yet, paradoxically, Burgin’s
position on the loss, erasure and atrophy has a distinctly critical
ambivalence. Like the public coffee house overlooking the Bosphorous
visualised in his work </span></span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i><span style="font-weight: normal;">A
Place To Read</span></i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">,
the clearing of social spaces in common and subsequent replacement
with anonymous bastions of globalisation, demonstrates the deeper
problems of valourising the neutrality of a post-ideological </span></span></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><i><span style="font-weight: normal;">atopias</span></i></span></span></span><span style="font-family: "calibri" , sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">.
That globalisation remains a historical process in which one form of
power is atrophied by another; and we are all authors of that
process. </span></span></span></span></span>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-71905784357908062462016-02-21T03:43:00.000-08:002016-06-14T07:15:57.865-07:00Flat Surface Painting, Michael Simpson at Spike Island, Bristol - 16 January to 27 March<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV9KXtDpWFEI_XElVE06CGMKeU3nJKgp95MJxAv26ELXuE49GBiKKaTARKFg2BJVnPy3mV3Fs6_rYc1KGxoRhGGSYWNyC_j4pr3l5E-mhjTlBshm9AkUbOXmLQZyv5kGsEAv1-tsUSjaE/s1600/michael-simpson-1450260339.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV9KXtDpWFEI_XElVE06CGMKeU3nJKgp95MJxAv26ELXuE49GBiKKaTARKFg2BJVnPy3mV3Fs6_rYc1KGxoRhGGSYWNyC_j4pr3l5E-mhjTlBshm9AkUbOXmLQZyv5kGsEAv1-tsUSjaE/s640/michael-simpson-1450260339.jpg" width="640" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Bench Painting 67</i> [Bruno Resurrect] (reworked 2008)</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Oil on Canvas</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">245 x 518 cm</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /><br />Michael Simpson studied painting at the Royal College of Art in the early 1960s. Yet while his peers were embracing the brave new world of Pop Art, Simpson turned to the past in order to recalibrate and reconfigure the transformations of faith, illusion and transcendence in secular society. Rather than simply holding a mirror up to social and cultural structures, Simpson’s paintings dig deeper, in ways that align them with Foucault’s methodological approach. Simpson is an archaeologist of embedded power systems of discipline, regulation and illusion. Indeed, both his fascination with the writings and life of Giordano Bruno, a Renaissance scholar burned at the stake for heresy, and what Simpson terms as “the infamy of religious history”, become ways of disentangling the relationship between representation and institutional exclusion, in an age <span style="font-family: "trebuchet ms" , sans-serif;">in which</span> aesthetics are dominant. As well referencing the composition and perspectival techniques of Renaissance painting, the Leper Squint series specifically refer to the viewing holes built into the walls of churches that once allowed the inadmissible to ‘participate’ in sermons without entering the congregation. Here, the Renaissance motif of the architectural frame becomes an allegory for our times. In an age of where ‘choice’ and ‘participation’ are the buzz words through which to engage individuals as legal subjects, the screen and the interface masks the power and property relations of political agency. The frame is key in determining <span style="font-family: "trebuchet ms" , sans-serif;">our </span>over-identification with institutions of power. Whether it is the neoliberal pedagogies of Big Brother, Dragons Den and the X-Factor or the binary interface Tinder, the frame invites audience into artwork, whilst at the same time ultimately excluding <span style="font-family: "trebuchet ms" , sans-serif;">us</span> from its means of production. Here, illusionary forms become part of a technocratic system for rationalising and reorganising labour value and exchange, as exploitation of ‘bare life’, <span style="font-family: "trebuchet ms" , sans-serif;">and</span> for the exclusion and eventual elimination of non-participatory subjects. In other words, the interface becomes the dehumanising means necessary for the cultural and institutional rationalisation of <span style="font-family: "trebuchet ms" , sans-serif;">S</span>ocial Darwinism. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Squint 18</i> (2015)</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Oil on Canvas</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">229 x 121 cm</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Paradoxically, whilst Simpson is deeply critical of ideological dogma and the brutality of organised religion, his paintings also adopt an ambivalence towards the obfuscating glamour and of pop culture and the illusions of our seemingly liberated times. These works are far from agnostic and have a deeply meditative resolve, which balances hermetic withdrawal with critical reflection on the social, cultural and physical architectures of exclusion. Simpson plays with the complex and paradoxical relationship between belief and illusion, playing off the acetic language of American minimalism against the illusionary tropes of renaissance painting. His paintings do not conform to the ‘liberated’ anti-illusionism of minimalism nor the bank-friendly ambivalence of Abstract Expressionism, which Nelson Rockefeller's once famously described as “free enterprise painting”. Instead, Simpson uses the dialogue between illusion and pure form, as a way of questioning the neutrality our architectures of exclusion; the ambivalence that reduces migrants, the homeless, the elderly, the displaced and the marginalised to ‘bare life’. Equally this makes us reflect on the occupation of public space by corporations, in which sovereignty over non-legal subjects is instated with makeshift architecture, the introduction Public Space Protection Orders and the infamous brutality of anti-homeless spikes and on the spot fining.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Far from Simpson’s paintings adopting the critical and complicit stance of Pop Art, they are, in fact deep ethical reflections on the politics of illusion. Thus, in the flesh, they are far from flat and shiny. The surfaces are often heavily textured as if a comb has being dragged methodically through the paint, perhaps in a gesture towards the minimalist paintings of Zebedee Jones. Up close, the illusionary techniques are thwarted as the brush skims the ridges of these surfaces. Yet, as in the case of the meticulously painted shroud-like cloths that appear in some of his <i>Bench Painting</i> series, seemingly weighing down the coffin-like blocks, the adherence to classical painting is challenged by a lightness of touch, which renders this drapery as the ghostly, untouchable projection of cinema. In this direction, Simpson has increasingly described these works as vanitas paintings. In doing this he presents us with a deeply personal paradox, the relationship between figuration and transcendence (his Catholic bodily conscience) and the ontological value in rehearsing death and mortifying the flesh. Indeed, this reflects the paradoxical nature of Giordano Bruno’s fate. In not renouncing his ideas and in his adherence to his belief in the power of transcendence over the body until the bitter end, Bruno ultimately presented himself to the authorities as ‘bare life’. Conversely, he became Christ-like – a body deemed unworthy of life yet in possession of a spiritual and intellectual core<span style="font-family: "trebuchet ms" , sans-serif;">,</span> untouchable by his persecutors.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The austere, coffin-like structures in his <i>Bench Paintings</i> appear to float, perhaps alluding to both the resurrection of Christ and the paradoxical relationship between hermetic ascension and the transcendence of enlightenment thinking. Indeed, Simpson has confessed a disliking of gravity, which becomes a Cartesian battle between the desire for intellectual and bodily transcendence and our earthbound nature. Here, the enlightenment shift masks the corporeal relations between power and freedom, previously reinforced by medieval authoritarianism and now reproduced in the biopolitical sphere of liberal forms of governance. Whether its the need for individuals to reproduce and sustain livelihoods within an ever narrowing performative field or the control and regulation of migration, the relationship between the desire for freedom and the exercise of power ultimately comes back to the human body and its right to thrive or wither away. Simpson’s paintings make us all too aware of the cognitive dissonance between the corporeal awareness and representational illusion. Not only does he draw our attention to the weight and encumbrance of the body but also to the conflict between the flat space of virtual projection and the ‘flesh of the world’. The textural and gestural qualities maintained by the act of painting, recalls Merleau-Ponty, in reminding us of the ‘ubiquity of body’ in an age of screen surfaces. Likewise, the minimist <i>trompe-l'œils</i>, invite the bodily imagination to project itself into virtual space more readily than the transcendent cybernetic passivity of the screen interface. Beyond the Cartesian elaboration of the internet, our Godlike propriety over virtual worlds and the impenetrability of the touch screen, the surface of painting reminds us of our own bodies. Here, as artist and writer Bernice Donzelmann suggests, ‘surface is flesh, of sorts’.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Simpson paintings seem to reflect the ways in which the religious illusions that once maintained the deep structures of power and property, as exercised by church and crown, are transformed from the direct disciplining and punishment of bodies – imprisonment, torture and execution – and the allowance or denial of life, to remote governance and the regulation of bodily freedoms and life choices, in which individuals are allowed to choose from multiple paths to either inclusion and life, on the one hand and exclusion and death on the other. Likewise, the Christian parable of ‘the broad and narrow way’ is transformed into a kind of <span style="font-family: "trebuchet ms" , sans-serif;">S</span>ocial Darwinist ‘Wacky Races’, where the object is to install fake scenery to trick your competitors into thinking they are heading towards their own ‘finish lines’, when they have in fact been fast-tracked towards the abyss.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">For me, the sheer brutality of contemporary forms of exclusion is represented in the perspectival devices of Simpson’s un-inhabitably shallow architectural spaces. These are not only the spaces of purgatory and divine judgement but the façades, architraves and doorways in which the homeless, the mentally ill, the young, political outsiders and other disenfranchised loiterers wait to be ‘moved on’. Hey remind us that we live in society in which, despite illusions to the contrary, it is all too apparent that we cannot transcend the body. The coffin like forms in Simpson’s <i>Bench Painting</i> series, are a sober reminder of the biopolitical reality of our agnostic times; that subjective freedoms and life choices are ultimately bound to the human body; its inclusions and exclusions, its capacity to thrive or die. </span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-42700961632798470582015-12-22T08:02:00.000-08:002015-12-22T08:02:38.807-08:00Qwaypurlake<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Hauser
and Wirth Somerset</span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">15</span><sup><span style="font-size: small;">th</span></sup><span style="font-size: small;">
November – 31</span><sup><span style="font-size: small;">st</span></sup><span style="font-size: small;">
January</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">David Wojtowycz, <i>The Lake</i> (2012)</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">There
is nothing more unsettling in our tumultuous times, than images of
nature appearing to act naturally. In the age of the </span><span style="font-size: small;"><i>Anthropocene</i></span><span style="font-size: small;">,
a trip to the Somerset countryside no longer has the same
picturesque, nostalgia-inducing appeal that once enticed caravaners
and watercolourists out of the suburbs. Landscape is no longer
witness to the dream of reason. Sublime and technological sublime are
now entangled in a romantic embrace of slow-death; locked in the
mutual chokehold of the forever undead. The hills really do have
eyes, but this time not those of alienated savages but of an alien
landscape – the nature once feared before it was tamed and
refashioned in the 18</span><sup><span style="font-size: small;">th</span></sup><span style="font-size: small;">
and 19</span><sup><span style="font-size: small;">th</span></sup><span style="font-size: small;">
centuries. Or perhaps these are the eyes of surveillance, following
us from the city. A gaze that follows us from within and without our
bodies, oscillating between perceived unity and abject thingness, as
we peer from behind ourselves. Hidden in the foliage the gaze that
watches identifies both with the unknown threat of horror cliché and
Benjamin's camera operator but never with the zombie actor whose
sightseeing corpse is framed. It is the familiar yet unidentifiable
gaze that surveils us in our endless work lives as we chase the next
project or tweet another opinion, and as we check-in with our
fictions of how best to promote ourselves online or how the world
perceives us. It is the blind reptilian gaze of neoliberalism, which
doubles as our own, dreaming our dreams and enabling the
reconfiguration of power and control around our CV careers;
tightening around everyday life with every breath – every blog post
– like a vast boa constrictor. It watches us mockingly as we
hopelessly try to reconcile the rift between self and world with the
sheer will and conviction of our </span><span style="font-size: small;"><span style="font-weight: normal;">Gore-Texe</span></span><span style="font-size: small;">d
rural perambulations. It is the GPS that pinpoints our exact location
as we scan the view for signs of life. It is the faint intangible
atmosphere that haunts us as we attempt to stop the buzzing swarm of
me-ness and penetrate the smug mimesis of the landscape before us
that withholds its materiality from representation. </span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Approaching
Hauser and Wirth Somerset by car is a reminder that middle class
mythologies still hang like an opulent damask veil over our
disquieting new landscape. My friends and I debate whether or not
wellies will be needed for the short walk from the visitor car park
to the lavishly refurbished farm buildings. We glimpse the bistro in
which we have a table booked for lunch. We peruse the selection of
art theory books including, unironically, Clare Bishop's critique of
participatory art, 'Artificial Hells'. On entering </span><span style="font-size: small;"><i>Qwaypurlake</i></span><span style="font-size: small;">,
a group exhibition curated by Simon Morrissey, what strikes you is
the apparent tameness, even conservatism, of the works included. The
seeming mundaneness of some of the photographic images, for example,
and the reassuring familiarity of the landscape images, lull us into
a false sense of security. Look again. These are not the landscapes
you're looking for! The works here are representations of an older
landscape – the pagan landscape of soil and life-cycles, geology
and 'deep time', pantheism and animistic energies – that is hidden
just below the septic aberration of space and time we call
capitalism. The strange resonances that come from many of the works
are like clarion calls from our planet, not in the egotistical sense
of it asking us to save it but a deeper tone. The voice of landscape
as a primordial echo – a shrug of knowing acceptance or an earthly
stirring to shake off the sedimented crust of scar tissue we call
human culture. </span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The
landscape of Qwaypurlake, a title taken from the road leading out of
Bruton in the direction of Frome called Quaperlake Street, is a
sentient one. The exhibition most obviously draws inspiration from of
Stanislaw Lem's novel 'Solaris' (1961), which is centred on a
conscious oceanic planet. As global sea levels rise, this vision
offers a glimpse of a very possible dystopian future. Indeed, the
first work we encounter is a film by David Wojtowycz that depicts a
familiar yet alien seascape centrally divided by a pier. At first,
the scene seems oddly mundane, until the viewer becomes aware that
the waters on either side of the pier behave in strange and unnatural
ways. To the right the sea is choppy and convulsing, as if broken by
jumping fish, and to the left the water surface is still as a pond,
pulled flat as if by some unknown force. A sonic resonance burrs from
the well-like forms of Kit Poulson / Alex Baker's 'transmitters'. Jem
Southam and Aaron Scuhman's sparse, bleak landscapes focus on dew
ponds, and smouldering wood and ashes, respectively, to produce eerie
post-human narratives of absence / presence. The tree spirits are
tangibly present in the dense boscage of James Ravilious' black and
white photographs and Ben Rivers' mud-daubed pagan ancestors watch
us from the undergrowth. An undercurrent of primitivism runs through
the exhibition through Michael Dean's large standing forms, Elizabeth
Frink's mutant creatures and Han's Coper's Cycladic forms. Likewise,
Daphne Wright's workaday beasts, echo both the harsh realities of our
rural past – enclosures, hunting rights, poaching – and the
neoclassical spender of the landed gentry. Indeed, 'Stallion' (2009)
is a particular startling sculpture, whose grandiose classicism,
fuses power and status with the brutal realism and mundane
functionality of an equine autopsy. Heather and Ivan Morison's
sculptures play in the archetypal landscapes of British surrealist
tradition, mixing Nash's rural 'equivalents' with monstrous
sublimatory forms. Ian McKeever's thingly paintings have a presence
reminiscent of Rothko's Segram Murals, and are slightly menacing. The
interplay of light and dark dances on the canvases like daylight from
a rock crevice catching the torrential flow of an underground river.
The thickness and darkness of the paint is deceptive as there is a
gentle melancholy to the gesture and movement of the paint. There is
a filmic quality to these paintings. As my eyes panned across their
huge surfaces and inky root-like forms, I was reminded of the murky
painted backdrops for the subterranean scenes in the 1978 animated
adaptation of Watership Down. Of course, the inclusion of Frink and
Coper, together with Peter Lanyon and Richard Deacon, remind us that
British modernism has always looked beyond the human and engaged with
the affective nature of landscape: attentively slowing down human
temporal experience to the 'deep time' of geology and nature, and
listening to animistic objects and sentient landscapes that speak to
us from a time before we were here to listen and will continue to
resonate long after we are gone. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Aaron Schuman, <i>Untitled (Bonfire)</i>, from the series <i>Summer Set</i> (2012)</span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-58289551512335989852015-12-22T07:47:00.000-08:002015-12-22T07:48:43.720-08:00Shezad Dawood: Towards the Possible Film<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"> Still from <i>Towards the Possible Film</i> (2014)</span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: small;">By
his own admission, Shezad Dawood has a habit of naming shows after
his films. On reflection, the reason for this becomes self-apparent
in his wider practice. Dawood feels that studio work is an intrinsic
part of the reflective process of film-making. His diverse studio
practice, which also includes, painting, sculpture, digital animation
and neon works, happens alongside his films. Long production
schedules provide an important gestation period for his work – a
time the artist describes as “whilst the film is cooking”. Even
after works are finished, there is still the process of responding to
different exhibition contexts. The dialogue between 'finished' pieces
is as much a part of the conceptual process as his research. For
Dawood, “the work takes place between the work”. Whilst the film
is the sun around which the planets turn, the other works speak with
equal clarity about their shared multi-dimensional worlds. Paintings
made on canvases of vintage fabrics produced by nomadic Pakistani
women in the 1970s (prior to the military coup of '79), are evolving
hybrids. These textiles can be viewed in a similar way to art cinema
– as experimental media. They once operated as open and
destabilising forms of cultural production that sat outside of the
dogmatic religious and ideological structures that finally put an end
to them. They are culture as, what Bhabha (1994) terms, 'empirical
knowledge'. The neon works are both modern and mystical – a
balancing act between formal and spiritual meditation. A digital
animation of the head of novelist and scientific philosopher Robert
Anton Wilson, uses photos taken at different angles and ages to
produce a multi-dimensional “quantum portrait”. The exhibition
also includes another film, </span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><i>A
Mystery Play</i></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;">
(2010), to make comparisons between three types of magic – stage,
screen and the occult. Here, Dawood continues to explore his interest
in Buster Keaton and silent film. He does this via Keaton's links to
Houdini, together with the twin histories of Vaudeville and the
Occult in the city of Winnipeg – a city whose masonic architecture
becomes a metaphor for the loss of progress and the embeddedness of
power structures. </span></span>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: small;">The
film at the epicentre of Dawood's (re)collected body of work, </span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><i>Towards
the Possible Film </i></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;">(20</span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;">14),
opens with a series of powerful images – the pyramid and winking
eye of canary wharf, a jaguar, a Mayan pyramid – totems of power,
mastery and sacrifice. As the jaguar passes across the screen, it
seems to connect two seemingly very different kinds of power, the
mystical and the mystifying; magic both ancient and modern. From
Spanish colonised Central America we travel to the Moroccan coast
with its similar legacy of occupation. We then see a close-up of a
blue-skinned astronaut uttering a </span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">Marcusian
commentary in Berber dialect. The subtitles read: </span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">“The </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">old
sense</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="background: #ffffff;">
</span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">of </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">alienation</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="background: #ffffff;">
</span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">is </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">no
longer possible</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">.
When </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">individuals
identify</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="background: #ffffff;">
</span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">with
a lifestyle </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">imposed</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="background: #ffffff;">
</span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">on </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">them</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">,
and </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">through</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="background: #ffffff;">
</span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">it </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">experience
gratification </span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">and
satisfaction, </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">their
alienation</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="background: #ffffff;">
</span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">is </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">subsumed</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><span style="background: #ffffff;">
</span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">by </span></span></span></span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span><i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">their
own alienated existence”.</span></span></span></span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">
</span></span></span>
</div>
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<br /></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-family: Calibri, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">Beyond
setting the scene, description is useless in communicating the sheer
complexity of the film's references: pre-Islamic animist cultures in
Morocco, the animistic landscape as witness, the triad of ancient
religions in Mexico, India and north African connected via Phoenician
trade routes and centred on myths originating from visitations by
alien astronauts. Dawood problematises postcolonial narratives in the
face of the complexities of globalisation – the accelerated
violence of neoliberal global capitalism, paradoxically both
atomising and uniting us. Persecutor becomes persecuted and coloniser
becomes colonised. Obtuse allegorical references act as both
pinpricks of ethical reflection and dystopian omens. A piece of lemon
rind in seaweed connotes the carrion-eating low-impact lifestyles of
those who choose decent from capitalism. How do we reconcile the
smallest actions with their incomprehensible global consequences?
Pre-Islamic natives stomp their feet, perhaps asking the landscape
for answers. They face the sea, waiting for it to speak, like the
sentient oceanic planet in <i>Solaris</i>. What emerges are two blue-skinned
visitors from another world who see this world as overlaying
multi-dimensional fragments. An act of extreme violence perpetrated
by a 'native' to one of the alien colonists / tourists / gods,
becomes a question – like that of Meursault spoken through his
killing of an Arab in Camus' novel. Where is the subject in
subjectivity? God is everywhere and nowhere, the greater forces hold
us in their gravitational pull. </span></span></span>
</div>
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<br /></div>
<div align="JUSTIFY" style="font-weight: normal; line-height: 150%; margin-bottom: 0cm;">
<span style="font-family: Calibri, sans-serif;"><span style="font-size: small;">Ultimately
however, it is pointless to endlessly dissect Dawood's post-human
parafield because to theorise is to close-down, and for him, art is
like “shattering the bedrock of culture” to reveal new layers,
new openings. Dawood's practice is an empirical process of opening
out – of making “successive openings” in the binary landscape,
through which, in Barthes' terms, we can 'outplay the paradigm'; to
reveal 'obtuse meaning', or even 'post-meaning' (Barthes, 2002).
After all, as the artist suggests, “we are all just objects
thinking we're subjects”. </span></span>
</div>
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</div>
Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-71092497846310571612015-12-19T13:35:00.000-08:002015-12-22T07:38:25.785-08:00Being in Love is Dangerous<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxmjo6B_WKHPQzeFc5yc5Zak_zr5BneoZodqTDCSZnpWz1E88VP6ftPUyK1P0aEShvya2nHR1_C-yzQTTfHBqmVas_K7Jc0ohbyBNIAdWbRxiv738pgSJhO6FznerAh6xL38m_vDNnOc/s1600/01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxmjo6B_WKHPQzeFc5yc5Zak_zr5BneoZodqTDCSZnpWz1E88VP6ftPUyK1P0aEShvya2nHR1_C-yzQTTfHBqmVas_K7Jc0ohbyBNIAdWbRxiv738pgSJhO6FznerAh6xL38m_vDNnOc/s640/01.jpg" width="640" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">"Being in Love is Dangerous" (2015) is a project in which I took the
habitual field of DIY as a starting point, in order to interrogate the
relationship between material and immaterial labour, work and leisure,
in neoliberal society. In isolating material labour from the creative
act of art, I was able to explore the potential of making and embodied
geographic relations to disrupt flows within the habitual discources and
representations of capitalism, and to attempt to produc<span class="text_exposed_show">e - through practice, performance and performativity - alternative modes of being and becoming.</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqTlt5GVnrbmVqpWyCVBa1CyunqLzTZ6AHo_dv819qNJQFfNct1VHLzJw3F_b1e_VdCm4kBALllq2KOBUo10zoGGM0QwldHZycOb78sxSrtX9d7_zNuGf2U7lO3zT3THo4C2-V8J1krWQ/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqTlt5GVnrbmVqpWyCVBa1CyunqLzTZ6AHo_dv819qNJQFfNct1VHLzJw3F_b1e_VdCm4kBALllq2KOBUo10zoGGM0QwldHZycOb78sxSrtX9d7_zNuGf2U7lO3zT3THo4C2-V8J1krWQ/s640/2.jpg" width="640" /></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
The room interior was designed the youngest member of the host family
and all materials were bought from corporate owned DIY stores. I walked
from the host family's house in Southbourne to Castle Point retail park,
Bournemouth, on three consecutive days to collect materials including
three 15kg bags of Homebase 'beach pebbles'. One of the journeys was
documented in the following video, which plays with the idea of slowed-down 'zombie' walking, attentive engagement with non-human objects, and fissures and disruptions in the spatial and temporal flows of late-capitalist geographies. The video includes music by <a href="http://pinkturnspuke.bandcamp.com/releases">Pink Turns Puke</a>. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/c_O6PuJovJE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/c_O6PuJovJE?feature=player_embedded" width="320"></iframe></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The
title for the project is taken from David Salle, who argues that “being in love is
dangerous because you talk yourself into thinking you’ve never had
it so good”. This statement can be taken literally as a warning
towards the mythologies of romantic relationships and their
embeddedness within the power and property structures of
late-capitalism. However, the statement also allows us to consider
the ways in which subjectivity is shaped by capitalism as we engage
in everyday creativities such as DIY as part of the endless work of
self-making and the 'affective labour' of disseminating our efforts
within networks of humans and non-humans. Thus, the home becomes a
shop front for the self and its wider <span lang="en-GB"><i><span style="font-weight: normal;">habitus</span></i></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">.
</span></span></span>Individualism
places identity solely in the hands of the markets, it focuses our
attention on the material and symbolic property required to shape who
we are rather than what we can become. <span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">Yet,
the power and property relations of subjectivity are rarely just our
own. For Foucault (1998), 'technologies of the self' work as a
</span></span></span><span lang="en-GB"><i><span style="font-weight: normal;">dispositif</span></i></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">,
or </span></span></span><span lang="en-GB"><i><span style="font-weight: normal;">apparatus</span></i></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">,
through which power is exercised upon individual bodies within the
biopolitical structures of late-capitalism. </span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuWNvdteYKQATj_d0u4rlZLv3aSSNwjZrQT_9Ps4dnsCGZS9HO7MAr90J0TZNYQkSNc3alHSMsuozZJp-42Jqq7rgBz5E2uSnjSrtHxaYjfZk_Hn0_OGo7lndwqcJbItBLThv5V76P5RY/s1600/4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuWNvdteYKQATj_d0u4rlZLv3aSSNwjZrQT_9Ps4dnsCGZS9HO7MAr90J0TZNYQkSNc3alHSMsuozZJp-42Jqq7rgBz5E2uSnjSrtHxaYjfZk_Hn0_OGo7lndwqcJbItBLThv5V76P5RY/s640/4.jpg" width="640" /></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Fire surround clad in 'beach pebbles' bought from Homebase, near Castle
Point retail park, and brought back on foot, despite house being a few
minutes walk from the sea.</span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK92sbPoveTP08aM86z-9i8iqTE0qUvKC553wAReFjOtbfZiQhap2On95wW9HRWOm87TMQPgrS7BDCIek4c2fZiYXyrKdTsoy7J2s4FscA7cUzGlEnRBj1t1Ye-lHcbJpbkSlz3xGNe64/s1600/6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK92sbPoveTP08aM86z-9i8iqTE0qUvKC553wAReFjOtbfZiQhap2On95wW9HRWOm87TMQPgrS7BDCIek4c2fZiYXyrKdTsoy7J2s4FscA7cUzGlEnRBj1t1Ye-lHcbJpbkSlz3xGNe64/s640/6.jpg" width="640" /></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Wood cladding </span></span><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">'trompe-l'œil':</span></span><i><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">I wanted the gifting of labour to be a gifting of skilled labour to oppose the deskilling of the neoliberal workplace and the economic rationalisation of skill and craft</span></span></span></i><i><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"> as entrepreneurial</span></span></span> capital in the creative economy. </span></span></span></i></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgmE_Oe8ZsAG7sy2WbJ9B9CUKvTY4DZUSNIiIa8G9myb7_wC2l7TSV7Pb7keC39D8ybTbw9wO6ExBVS4ZbpNAKkqhyxTFmBj1FfdiWR3wfVWmdM7XWxzMGiSdVvHvh6SPe7sDqtkGAB9g/s1600/5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgmE_Oe8ZsAG7sy2WbJ9B9CUKvTY4DZUSNIiIa8G9myb7_wC2l7TSV7Pb7keC39D8ybTbw9wO6ExBVS4ZbpNAKkqhyxTFmBj1FfdiWR3wfVWmdM7XWxzMGiSdVvHvh6SPe7sDqtkGAB9g/s640/5.jpg" width="640" /></a></span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Recomposition of the total amount of masking tape used to create divisions between planks on mural.</span></span>
</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">The
initial aim of this project was to take a phenomenological approach
to the performance of 'work', in order to critique the relationship
between material and immaterial labour in everyday production.
Indeed, as Hardt and Negri (2011) suggest, </span></span></span><span style="text-decoration: none;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">‘</span></span></span></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">[w]hen
immaterial production becomes hegemonic, all the elements of the
capitalist process have to be viewed in a new light</span></span></span><span style="text-decoration: none;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">’</span></span></span></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">
(Hardt and Negri, 2011: 25). In the everyday structures of
neoliberalism, labour and work are the same thing! Immaterial labour
becomes a productive force, that proliferates – when aligned with
the big data revolution – increasingly quantifiable surplus value
through the unpaid work of everyday life. On these terms it becomes
increasingly difficult to mobilise a critique of work. The immaterial
labour of everyday production blurs the boundaries between work and
non-work to such an extend that work is prevalent both in and out of
the workplace. A further aim of this project, therefore, was to make
visible the immaterial work of everyday life and to use performance
as a way of “doing” work, phenomenologically, in order to isolate
its affects. Methodologically, I have attempted to articulate a
series of affective relations by using practice and performativity as
a means of opening up to – and feeling – the process of becoming
in order to critique the conditions of work and leisure in neoliberal
society. </span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">My
'work' became problematic, as neither skilled labour nor the creative act could be rationalised in economic terms or exchanged as capital or labour value.</span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJuiBsX5361tnZYRxJwlnUt7881e4LR12x6OO5L0Q4BVyvS0j8VKPLbmuhXX3ZpeZFd0ODiErWGlEvYaXGfBgcx8LLYsxg53QazUvFBy1tk5Vjp5uRGbs2iQVJtWG9dMx4e-Y5Zkb94z4/s1600/3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJuiBsX5361tnZYRxJwlnUt7881e4LR12x6OO5L0Q4BVyvS0j8VKPLbmuhXX3ZpeZFd0ODiErWGlEvYaXGfBgcx8LLYsxg53QazUvFBy1tk5Vjp5uRGbs2iQVJtWG9dMx4e-Y5Zkb94z4/s640/3.jpg" width="640" /></a><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">The 'soft touch' rug.</span></span></span></span></span>
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</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">The
performance took place, in (and on) several stages. The first
stage involved walking to a large </span></span></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">“out-of-town”
retail park, over several days, to purchase decorating materials and bringing them back to the host's house. This process reconnected the act of labour with
material and spatial ways of thinking – for example the
difficulties of carrying 'beach pebbles', bought from a large DIY
store, to their destination – the house, which is, unironically, a few minutes walk from the beach. On the second
day I began the work of cladding a fireplace in the pebbles, and on
subsequent days completed this task along with the rest of the
decorating – including the creation of a '</span></span></span><span lang="en-GB"><span style="font-weight: normal;">t</span></span><span lang="en-GB"><span style="font-weight: normal;">rompe-l'œil</span></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">'
of wood panelling on one wall. This process highlighted the nature of
skilled work in an age where the de-skilling of the workplace is a
neoliberal trick to perpetuate low wages, precarity and
interchangeability employees. Likewise, the possession of hard skills
and creative talent, leaves individuals vulnerable to the insecurity
of the marketplace. It is not enough to possess a skill or creative
propensity, tradespeople and creative workers must also be
“front-facing” affective labourers – ceaselessly smiling,
eternally grateful and polite self-publicists, tirelessly working
their magic on others to stay ahead in the marketplace. </span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxLHy9D5ktkXSI_aRy9oBs5xOBhYc-Pov-9vkUXKt8TpciGwMRn5oEtbFrBY_H8x8jWJLhzLTWBflZPV-Ji2728KMjd0n2-EX3CPE42kL7NupmP73MKpgP0klyG6I37Ggw3uIpjuarCnM/s1600/8.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxLHy9D5ktkXSI_aRy9oBs5xOBhYc-Pov-9vkUXKt8TpciGwMRn5oEtbFrBY_H8x8jWJLhzLTWBflZPV-Ji2728KMjd0n2-EX3CPE42kL7NupmP73MKpgP0klyG6I37Ggw3uIpjuarCnM/s640/8.jpg" width="640" /></a></span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Absolute Radio: a stupefying mix of masculine melancholy, nostalgia and normative advertising. A false haven from the turbulent seas of 'crisis capitalism'.</span></span></span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm0zuldzjG5ehvtYP3vVtGSnC-gvObLUG_q2gQYjeZ86JIqHeFK7TNcvTEy1KdMZeiNpgFe4ta7ZYsKIihKoJgIchcuw62TJHooP3QwmEyapm6HutdElSyyXi5LT4uWz4uFqYxpF5HwIE/s1600/9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm0zuldzjG5ehvtYP3vVtGSnC-gvObLUG_q2gQYjeZ86JIqHeFK7TNcvTEy1KdMZeiNpgFe4ta7ZYsKIihKoJgIchcuw62TJHooP3QwmEyapm6HutdElSyyXi5LT4uWz4uFqYxpF5HwIE/s640/9.jpg" width="480" /></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><br /></span></span></span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">The receits: all time-stamped as evidence of my presence 'within' systems of immaterial labour and capitalist exchange.</span></span></span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">As
the performative engagement with the work wound-down, and the space
was re-staged as an installation, the performance took to a new
stage, upon which I became a 'tour guide', explaining the project to
visitors and justifying this 'work tourism' to myself and others.
This was perhaps the hardest part of the project – to break away
from performative mediation of the habitual and embodied, and to
justify the </span></span></span><span style="text-decoration: none;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">gap
between intention and reception, artwork and context, rather than
simply occupying that gap. The work itself allowed for the opening up
of meaning and I did not want to close down the material and
imaginative dialogue. Instead of defending the work as 'art', I used
the opportunity as an exercise in 'commoning' – to talk with
audiences about the work and to enable them to connect ideas
emanating from the 'work', with their personal experiences –
bringing things back to the material and ontological. One visitor,
for example, said that the discussion enabled him to value DIY as a
way of connecting with his home, when he had previously begrudged
the fact that his labour was a consequence of not being able to
afford to pay for professionals to do it for him. He was able to
reflect on the development of skills and creativities based in
materiality and outside of immaterial demands of work. Here work
becomes play, as it is without consequence. Moreover, in engaging
with materials and spaces, the labour of DIY becomes a poetic act,
allowing memory and embodiment to collude, and giving birth to poetic
images in the unlearning of habitual objects. Indeed, </span></span></span></span><span style="text-decoration: none;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">Bachelard
(1992) characterises the phenomenological exploration of the poetic
image as being fruitful by virtue of fact that it has ‘no
consequences’. He argues that the poetic image is ‘the property
of a </span></span></span></span><i><span style="text-decoration: none;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">naïve</span></span></span></span></i><span style="text-decoration: none;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">
consciousness; in its expression a youthful language’ (Bachelard,
1992: xix). T</span></span></span></span><span style="text-decoration: none;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">he
visitor also articulated the way in which his labour was imbued with
a sense of care for his family and for place, and was a way of
becoming at home in the world (Ingold, 1995). In this direction,
phenomenology offers a way to move beyond transcendental critique, to
the immanent and its affects on body and imagination. Here,
practice-based research is used as what Crouch (2010) calls a 'gentle
politics' – a way to explore becoming from within the conditions of
late-capitalism, in the recognition that there is no outside. </span></span></span></span></span></span>
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</span></span></div>
<div style="margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b>References</b></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span>
</div>
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Bachelard,
G. (1992) [1958]. <i>The
Poetics of Space</i><span style="font-style: normal;">.
Boston, MA: Beacon Press. </span></span></span>
</div>
<div style="text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-style: normal;">Crouch,
D. (2010). </span><i>Flirting
with Space: Journeys and Creativity</i><span style="font-style: normal;">.
Farnham: Ashgate</span><span style="font-style: normal;"><span style="font-weight: normal;">.</span></span></span></span></div>
<div style="text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><a href="https://www.blogger.com/null" name="productTitle"></a><a href="https://www.blogger.com/null" name="title"></a>
<span style="font-weight: normal;">Foucault,
M. (1998). 'The Birth of Biopolitics'. E</span><i><span style="font-weight: normal;">thics:
Subjectivity and Truth (Essential Works Michel Foucault, 1954-1984)</span></i><span style="font-weight: normal;">.
New York: New Press.</span></span></span></div>
<div style="text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">Hardt,
M. and Negri, A. (2011). </span></span></span><span lang="en-GB"><i><span style="font-weight: normal;">Commonwealth</span></i></span><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">.
Cambridge, MA: Harvard University Press.</span></span></span></span></span></div>
<div style="text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">
</span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">Ingold,
T. (1995). '</span></span><i><span style="font-style: normal;"><span style="font-weight: normal;">Building,
Dwelling, Living: How Animals and People Make Themselves at Home in
the World'.</span></span></i><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span><i><span style="font-weight: normal;">Shifting
Contexts: Transformations in Anthropological Knowledge</span></i><span style="font-style: normal;"><span style="font-weight: normal;">,
ed. Marilyn Strathern.</span></span><span style="font-style: normal;">
London: Routledge. </span></span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"> </span></span></span>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-19847575056631790522015-12-18T05:12:00.002-08:002015-12-18T06:46:23.099-08:00Staged Art Encounters and Artists on Pedestals<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Art galleries – in particular ones that stage encounters between those who consider themselves to be artists and those who do not – <span style="font-family: "trebuchet ms" , sans-serif;">of<span style="font-family: "trebuchet ms" , sans-serif;">ten</span></span> pose as a cultural laboratories in which the boundaries between 'common-sense' worlds are drawn and challenged. However, gallery art encounters are still culturally and geographically segregated from day-to-day life and as such are a problematic field <span style="font-family: "trebuchet ms" , sans-serif;">f<span style="font-family: "trebuchet ms" , sans-serif;">or </span></span>political action. For Bourriaud however, the simple act of facilitating such encounters is enough. The gallery becomes a liminal zone in the ‘arena of representational commerce’, which has the capacity to transform both art and the everyday by generating ‘free areas, and time spans whose rhythm contrasts with those structuring everyday life’ (Bourriaud, 2002: 16). But this in itself is not enough. It’s the equivalent of saying that going on holiday once in a year is enough to transform life back home. Whilst, the 'free' experiences we have on tour might influence our perspectives on everyday life, what can two weeks away in the sun really do to transform the structures of everyday life? The answer, for Bourriaud at least, lies in the notion that the ideal of a wholesale transformation of society is illusionary, and that we must therefore deal with a micro-political process of 'tiny revolutions'. However, this too would seem to limit the potential for action in everyday life if we are expected to attend relational art exhibitions and artist’s workshops in order to know how to escape the alienating demands of consumer capitalism! The very idea that the artist knows better than the rest of us is absurd. Can art encounters alone really help us to lift the sheer weight of capitalism's oppression within the structures of everyday life? Indeed, the mythologies that venerate the post-YBA, artist as a kind of guru or touchstone of 'good' living, seem to be a crass perpetuation of the cult of the artist and indeed, the cult of the self. Something Marina Abramović's <a href="http://www.serpentinegalleries.org/exhibitions-events/marina-abramovic-512-hours"><i>512 Hours</i></a> (201<span style="font-family: "trebuchet ms" , sans-serif;">4</span>) is testimony to. The preconception that artists are the only people with the privilege to stop time, or at least view it from afar in a practice akin to mindfulness meditation, suggests that the fundamental rift between work and leisure, has not gone away, and that romantic notion of leisure (and art) as 'time to stand and stare' as expressed by the poet W.H. Davies in 1911, still haunts our worldviews and convinces us that art practice is an activity of the leisure classes. Yet, despite the fact that the 'freedom' leisure is everywhere, the structures of today’s leisure still suggest that liberation is found elsewhere and if we want 'freedom' in everyday life, then we have to be either rich or unemployed, or to earn it through resourcefulness or entrepreneurialism. Thus, the artist is imagined as either aristocratic dilettante or subversive layabout, which perhaps accounts for why artists are rarely paid for their time, and that their work can only be evaluated in terms of productivity and output. Yet conversely, if we are to judge the power of artists to transform the world on basis of their actions rather than products, then aren’t we throwing the baby out with the bathwater? Actions, in the case of Situationism, amount to, at best de Certeau’s pin-prick tactics and at worst, distractions akin to fascist propaganda or the very image of spectacle. Likewise, actions do not challenge the productivist logic of neoliberalism – that the pursuit of freedom is the catalyst of immaterial labour and biopolitical production (Hardt and Negri, 2011). Rather than considering the art object to be the enemy of social transformation, perhaps it is better to suggest that the root of the problem is the notion that <i>being an artist</i> is a specialised activity, distinct from everyday life, in the same way as <i>being a tourist</i>. Indeed, both have equally negative connotations, depending on one’s perspective! </span></span></div>
Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-66329374595294222592015-10-23T12:15:00.001-07:002015-10-23T12:15:58.410-07:00Appendix 2 (receipts)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">12/10/15 11:24 (How did we do today?)</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"> </span></span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">12/10/15 14:08 (Terms and conditions apply)</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">13/10/15 14:34 (Heavy product. Please handle with caution)</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"> </span></span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">14/10/15 11:25 (Let us know)</span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-65145380064029701472015-07-24T02:47:00.000-07:002016-06-19T02:51:32.971-07:00Bevis Fenner & Noriko Suzuki-Bosco for TANTEO 2015 - What happens when you see a place through someone else’s eyes?<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_aluXVwzWjSg4cQpl13B13pBPz8efy3wAYs_86e_BREnc9iIGR_Nt8SpO76rWEwNPjOsbOC_xZdq-t8KFXhAMXXuiTfJAn1-7uscOHD1ud9CEfvvdQWnVdmguWmcFFYJj4VpzY267GLU/s1600/static1.squarespace.com.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span> </span></span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span></span></span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span> </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span>Based
on the understanding that tourism offers a way of shaping people’s
experience of reality through narrative, this one day project questioned
the definition
of authentic experience when a place is seen through someone else’s
eyes. It also brought into question the notion of authorship in tourism
and art. Specifically referring to Foucault's concerns about who
authorises the author within 'the functioning conditions of specific
discursive practices', we attempted to facilitate an imaginative
environment
in which participants were able to mediate between personally authentic
place meanings and those authorised by cultural and institutional
discourse to develop their own versions of the truth (Foucault, 1998).
Indeed, our belief in narratives or histories as absolute truths, limits
our experience of reality. Experiencing a place through someone else’s
eyes not only questions the authenticity of experience but also allows
us to engage with reality as imaginative play. Through processes of
deconstructing / reconstructing 'reality' and authoring / de-authoring
'work', the project attempted to facilitate walking practices that would
enable participants to move beyond representational discourses and
to re-negotiate new 'truths' of place. We also set out to consider
Foucault's question - 'what is an author?' via the nexus of conceptual
and material praxis and through the collaborative, artist-led<br />process itself.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7yc5nR3LFbk8TGgm1rU7Q_HCLa_d9uA-K5tdApYrfag2WlAKkeDl0bDi5HG0KxmO6MOrg21bAkbLM8uQH_w5OGGRWKljhmX4lhIlnGAMf4FUoBmGaVM_CivhEA97KIt-VtHTKzgmSW8o/s1600/static1.squarespace.com.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7yc5nR3LFbk8TGgm1rU7Q_HCLa_d9uA-K5tdApYrfag2WlAKkeDl0bDi5HG0KxmO6MOrg21bAkbLM8uQH_w5OGGRWKljhmX4lhIlnGAMf4FUoBmGaVM_CivhEA97KIt-VtHTKzgmSW8o/s640/static1.squarespace.com.jpg" width="640" /></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span><br /></span></span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span>The project began with two groups of participants those from TANTEO and<br />others who were Bournemouth residents. There were also two sets of guided tour<br />'scripts' to hand out to participants:</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span><br />• The first set of 'scripts' were historically 'accurate' documents given to the<br />residents to guide them through an area of Bournemouth. It was their role to<br />modify, adapt and personalise the texts by re-writing them as their own<br />'truths' of Bournemouth. This was done by re-writing the 'scripts' in the form<br />of written narrative and / or photographic representations or 'texts'<br />comprised of more open visual and literary forms such drawing, painting,<br />performance, experimental photography and poetry / poetic prose /<br />'pwoermds'.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span><br />• A second set of 'scripts' had all historical details removed, leaving only<br />fragmented lexical, syntactical and grammatical information. The new 'scripts'<br />were be given to core TANTEO participants to carry with them on their walks.<br />These participants will then use the 'scripts' as structural guides to develop<br />imaginative narrative responses whilst walking. These new 'truths' will then be<br />used by participants to generate literary / material / performance responses<br />of their own.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span>Participants from TANTEO project</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span><b>Reflection </b></span></span></span>
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<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Our
aim for this project was to use the prepared text/script to open up
alternative ways of engaging with place and its’ historical
narrative and to question the authenticity and ‘truths’ of such
experience. The texts provided structure and anchor point for the
participants to imaginatively engage with historical truth to
generate subjective freedom and to add a layer of personal narrative.
</span></span>
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<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Note:
Majority of the people taking part in the project were ‘visitors’
hence the feedbacks mainly reflect the use of the second set of
text/script. </span></span>
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<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Findings:</span></span></div>
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<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Both
group of participants decided not to use the prepared text/script
very early on in the project. Many found it ‘boring’, ‘too
arduous’, ‘too formal (to find your way in)’, ‘difficult to
engage with the actual experience because too busy thinking about the
words to fill the gaps with’, ‘tourist texts are only skim read
anyway’, ‘historical information about historical places are not
personal enough to be interesting’, ‘tourist texts take away the
humanness of the experience’ and ‘text guides you to read a place
in a particular way.’ </span></span>
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<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">How
can you be guided without being guided into interaction? </span></span>
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</span></span></div>
<div class="western" lang="en-GB" style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span lang="en"><span style="font-style: normal;"><span style="font-weight: normal;">Instead,
they consciously attempted to find ways to engage with the places on
the map in ways that did </span></span></span><span lang="en"><span style="font-style: normal;"><u><span style="font-weight: normal;">not</span></u></span></span><span lang="en"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
make sense. </span></span></span></span></span></span>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">They:</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
photographed</span></span></div>
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recorded sounds</span></span></div>
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sketched</span></span></div>
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engaged in conversation with staff on the premise</span></span></div>
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asked local residents questions</span></span></div>
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collected objects, etc. </span></span>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Many
attempted to find the ‘unofficial’ narrative, the alternative
authentic experience that could be gained from directly experiencing
the place.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">One
of the participants gave examples of two successful artist-led
walking ‘tour guides’ that she had experienced in Vienna. The
artist created narratives of historical buildings that did not exist
any longer and whilst taking a group of people on a guided tour of
the city would recite the stories at the locations where the
buildings used to be. The absence of the buildings made the
participants look even more closely at what was not there. The
‘encounter’ triggered powerful imagination to see beyond what one
could physically see. On reflection this idea seems a little
prescriptive in perhaps an even more spectacular or touristic way
than our dissolved . Is it possible to provide imaginative triggers
that allow participants to paint their own pictures in their minds or
even to find those alternative images and visually poetic
associations in the geographic environment themselves?</span></span></div>
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</span></span></div>
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</div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">The
idea of ‘post-tourist’ was also discussed. However it was pointed
out that alternative ways of experiencing a place (‘off the beaten
track’, ‘extreme tours’, ‘AirBnB’) quickly became
catagorised experiences. Words such as ‘unique’, ‘authentic’
and ‘different’ that were used to express certain experiences as
being unlike any other experiences were simply set of commercial
languages to sell the idea of authenticity. </span></span>
</div>
<div style="text-align: left;">
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</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></span>
</div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">On
reflection, we feel that:</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
texts are valid ways to encourage experience but the text/script we
had prepared was too complex, too formal and dry</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
perhaps we could have worked only with historically ‘accurate’
text and asked the participants to modify that</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
a structure or framework to guide the participants in to ways of
engaging with the place is important</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
the structure needs to envision possibilities for how it might
facilitate imagination and creative use by participants</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
the structure needs to pre-empt / forsee, possible ways in which it
might disadvantage, oppress or exclude participants (see
'responsiveness' in Joan Tronto's 'Ethics of Care')</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
whilst it is possible to theorise resistive spatial practices in
advance, these cannot be implimented as closed structures to 'fill
in', only as cues for improvised 'performances'</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
participants need a key or way in to caring about / for spaces, in
order to 'reproduce' them through practice</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
it is not possible to demand people to be imaginative and to 'dwell'
in a place - the imagination requires 'tools'</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
in order to see through others eyes, it is first necessary to
identify with 'the other' - participants and janitor were both 'the
other' at Bournemouth Natural Science Society</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
six different locations to cover in one walking session was too many and
(still) question:</span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
</span></span></div>
<div class="western" lang="en" style="font-style: normal; font-weight: normal; text-align: left; text-decoration: none;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">-
how can we successfully create a situation where historical
narratives and personal stories are woven together to form rich
multi-layered experiences that can be termed as being ‘authentic’?</span></span></div>
<br />
<br />
<br />
<span style="font-size: 15px;"> </span><br /></div>
Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-85103486886913978352015-07-10T15:05:00.001-07:002015-10-10T09:58:44.628-07:00Defamiliarising the Familiar: everyday tourism as the art of everyday life<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">My latest body of work,
recently shown at Winchester School of Art, explores the relationship
between tourism, art and everyday life. The work investigates the
ways in which we can learn from our experiences of art and tourism
practice to develop beyond habitual ways of seeing and being. In this
direction, everyday practice becomes as an attentive ethics of care
through which we can separate personal ontological value from
symbolic or exchange value within the cultural systems of late
capitalism. One of the aims of my multidisciplinary practice, which
includes painting, collage, photography, video, installation and
artist-led projects, is to explore the relationship between art,
leisure and everyday life in order to expose the paradoxes and
inadequacies of commercialised leisure in terms of reward and
liberation. Moreover, I also seek to produce conditions to make
visible the affective labour of everyday production as a capitalist
resource. Further to this, I use relational practice and processes of
authoring / de-authoring, to highlight the ambivalent and paradoxical
nature of object production and exchanges within late capitalist
systems. </span></span></div>
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</span> <br />
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<span style="font-size: small;">The practices of art
and tourism encompass both immersion and reflexive subjectivities and
can be used to develop a duel consciousness of everyday life in an
age in which it is rarely possible for the everyday to be fugitive or
to exist outside of specialist practices. Within the biopolitical
structures of late capitalism all practices are specialist within the
'creative' economy, characterised by the de-differentiation between
work and non-work. Subjective practices and everyday escapes become
affective capital within globalised neoliberal systems. New knowledge
cannot exist outside of this logic unless it is a situated and
contingent knowledge, formed in the gap between the immersive and the
reflexive, as an ethics of everyday practice. Artistic and touristic
practices, then, become ways of envisioning alternative ways of being
and seeing – of imagining possible futures and entertaining the
idea of flux and change in the ungendered potentiality of the moment.
Above all, we can utilise art and tourism subjectivities as a means
of seeing difference in de-differentiation, seeing through the eyes
of the 'alien' other, in order to see beyond the alienating same. </span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: black; font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b>HOTEL</b></i></span></span></span></span><span style="font-size: small;"><b><i><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b> </b></i></span></span></span></span></i><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b>(installation views)</b></span></span></span></span></b></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The images above are a
series of A1 photographs documenting a an installation of my
paintings at Urban Beach Hotel in Bournemouth. The gallery display
itself becomes an installation, mirroring the pseudo-domestic
environment of the hotel. The project originated when I gave ten of
my paintings to the hotel on permanent loan. This was not a simple
act of altruism, just as neither are the 'value added' creative acts of
the front of house staff at the hotel - such as producing beautiful, hand drawn chalk board designs. Whilst their everyday
creativities may be considered to be unconditional creative and their
emotional labour altruistic generosity, this is muddied by working
conditions, the blurring of work and leisure, and the ambivalence of
social relations. My creative act of painting could be considered a
tactic of 'making do' or of making everyday life more bearable, if it
were not for the fact that the paintings have become actors in a relational
artwork. This is not as problematic as it at first seems, however, as
the paintings, despite attempts to articulate narratives of coldness,
exclusion and alienation, in their eagerness towards the objects of
tourism become complicit in the pseudo-liberation of commercialised
leisure. Despite their critical content, they clearly become
commercial objects and await their roles as objects of commerce and
the exchange value that the market assigns them. An
uncomfortable flicker of being emerges from the work. The images set
up the equipment for exclusion and alienation but refuse to fully use
it. Instead, seducing the viewer with the expectations of his / her
gaze. Their status is always up for negotiation and their meaning
always at risk of negation: a constant cycle of dissolution and
retrieval. Larger works would shout out their intention “I’m
here, look at me, I’m not what you think I am”. The paintings
become ephemeral objects, 'snapshot' paintings representing fleeting
moments that are themselves fleeting objects. They sit where they are
supposed to sit, offering eternal blue skies and complimentary
colours to their fellow hotel décor. Thus, there is the suggestion
that by handing the paintings to the hotel – passing them clear of
both the aesthetic rhetoric of material production and institutional
objectification as art – their status is reduced to that of the
ready-made. They neither address, demand anything of, nor solicit the
expectations of the viewer – they lack the context of the gallery
and simply become décor. The negation of their status allows them to
exist among things; among the guitars, surfboards and other 'cool'
ephemera, which sit dumbly behind the thin veil of the venue’s
aura. As mildly distracting ambience, as mise-en-scene, the paintings
become part of the backdrop for the actors of everyday life, which
instead of absorbing them (as spectators) in the search for meaning
in the paintings (as work), is absorbed by those passing through
(perhaps as a poetic images) – as meaning not sought, but carried
from this fleeting rendezvous. Moreover, their status reduced to
décor, they join the affective objects and emotional workers of the
venue - providing an unquantifiable 'value added' at no extra cost to
the business.</span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"> <span style="font-size: small;"><i><b>The Consequences</b></i></span></span></span></span></span></span></span><b><i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"> (<span style="font-family: Tahoma, sans-serif;">parts 1 & 2</span>) </span></span></b></i></span></span></span></span></span></span></i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">(<span style="font-family: Tahoma, sans-serif;">installation views)</span></span></span></b></span></span></span></span></span></span><i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></b></i></span></span></span></span></span></span></i></b></div>
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<span style="color: black;"><span style="font-family: Calibri, sans-serif;"><span style="font-size: xx-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-size: medium;"><span style="font-family: "Courier New",Courier,monospace;">"The Penthouse - cosy seaside BnB"; a
high price for emotional labour';</span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: "Courier New",Courier,monospace;"><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"> subtle
and covert modification; under the representational demands; playing 'tour-guide' for others; navigating
the objects, interests and values that made up 'home'; the devolution
of our shared life and an opening out </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">to
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">change
and flux; oscillation between private and public, ontological meaning
and representational meaning</span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">; “we love
playing host and welcoming guests into our home”; the desire to go
backstage, to penetrate the heart of their host’s everyday life;
“</span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">b</span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">efore
long we were feeling very at home”; </span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">s</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">omething
was eating away at the 'staycation' dream; a hub of transient
sociality; “</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">we
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">hadn't
realised that we shared the bathroom with the hosts</span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: "Courier New",Courier,monospace;"><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-size: medium;"><span style="font-family: "Courier New",Courier,monospace;"><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">”</span></span></span></span></span></span>; “records,
bands and DJs are an important part of our life”; “</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">we
spent </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">some
quality time with Bev who was kind enough to mix some </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">80s
music for us”; mutability was key to our success; “</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">B</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">ev's
paintings are all over the place and give it a very personal
feeling”; </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">e</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">motional
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">s</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">elling
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">p</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">oint; the fallout of aesthetic rhetoric; art
becomes commerce, place becomes space, home becomes homelessness;
</span></span></span></span><span style="color: black;"><span lang="en"><span style="font-style: normal;"><span style="font-weight: normal;">staged
authenticity concealed the essence of... </span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "Courier New",Courier,monospace;"><span style="color: black;"><span lang="en"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><i>Living Under the Tourist Gaze</i> (in collaboration with <a href="http://plasticletters.moonfruit.com/">Stephen Hill</a>) </b></span></span></span></span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><a href="http://blog.soton.ac.uk/wsapgr/2015/02/26/living-under-the-tourist-gaze/">Living Under the Tourist Gaze - PIRG blog</a></b></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"> <b><i><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b>Living Under the Tourist Gaze </b></i></span></span></span></span></i><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b>(installation views)</b></span></span></span></span></b></span></span></div>
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<b><i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Representation IV (Mike's holiday photo, Kos 2012)</span></span></b></i></span></span></span></span></span></span></i></b></div>
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<span style="color: #444444;"><span style="color: #666666;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><i><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">Rather than face up to the problem of quantifying my labour value as a reproducer of images, I simply recognised the photographer's gesture in comparing his image with mine and made the choice to paint it for him for free. Was this an act of altruism, dissent<i><b> </b></i>or cowardice?</span></span></span></i><i><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b> </b></i></span></span></span></i></b></span></span></span><b><i><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></b></i></span></span></span></span></span></i></b></span></div>
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<b><i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><i><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Representation IV (Mike's holiday photo, Kos 2012)</span></span></b></i></span></span></span></span></span></span></i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"> (installation view)</span></span></b></span></span></span></span></span></span><i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><br /></span></span></span></span></span></span></i></b></div>
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<b><i><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><br /></span></span></span></span></span></span></i></b></div>
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<b><i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b><a href="https://vimeo.com/132935843"></a></b><br /></span></span></span></span></span></i></b></div>
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<b><i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b><a href="https://vimeo.com/132935843"></a></b><br /></span></span></span></span></span></i></b></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en">The
end of work vs non-work equates to </span></span><span style="font-size: small;"><span lang="en"><i>the
end of leisure.</i></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en"><i><br /></i></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b></b></span></span></span></span></span></span></span></span><br />
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><span style="font-family: Tahoma, sans-serif;"></span></b></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span><br /></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><i> </i></b></span></span></span></span></span></span></span></span><span style="color: #999999;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><</b></span></span></span></span></span></span></span></span><span style="color: #999999;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b>obfuscation></b></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><i>Punch and Judy Show (edge of representation) </i>(installation views)</b></span></span></span></span></span></span></span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwf8-nCqxPlx83h64uNYzNJ5M9GN4MgdNp4rZ9Cl_Ppu5_hn76-27bMejoZRf509LMoWfimrkS2m7ZUtq69Bw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><i>Punch and Judy Show (edge of representation)</i> (SD video)</span></span></b></div>
<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span></span></span></span></span></span></span><br />
<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span></span></span></span></span></span></span><br />
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<b><i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b><a href="https://vimeo.com/132935843">Punch and Judy Show (edge of representation) (HD on Vimeo)</a></b></span></span></span></span></span></i></b></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span><br /></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span><br /></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span><br /></span></span></span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsdl4CKH6XG2gPoYDe_d_03A2EJKTj4hbKSpYm5vnpuQ6wziTajQty6LKuKXAR-g5vK-miWT_Wras2htZHCQSjPSAtmUCDAmvyayZz8EwAfUYogtP9ViGyHA-Cy_QtGTOD0I-BUvFODRs/s1600/IMAG1546.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsdl4CKH6XG2gPoYDe_d_03A2EJKTj4hbKSpYm5vnpuQ6wziTajQty6LKuKXAR-g5vK-miWT_Wras2htZHCQSjPSAtmUCDAmvyayZz8EwAfUYogtP9ViGyHA-Cy_QtGTOD0I-BUvFODRs/s640/IMAG1546.jpg" width="362" /></a></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span><br /></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><i>Gift / Exchange</i> (before and<span style="font-family: Tahoma, sans-serif;"> after, installation views)</span></b></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span id="goog_1439141018"></span><span id="goog_1439141019"></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></span></span></span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en">Art
practice is about bringing </span><span lang="en">substantive
personal meaning and value to everyday life</span><span lang="en">
and not letting life be something that is imagined as happening in
other places, times or as being created using materials that are not
to hand.</span><span lang="en"><span style="font-weight: normal;"> </span></span></span></span><b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en"><span style="font-weight: normal;">We
</span></span></span><span style="font-size: small;"><span lang="en"><span style="font-weight: normal;">are
no longer making art</span></span></span></span></b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en"><span style="font-weight: normal;">,</span></span></span><span style="font-size: small;"><span lang="en"> we are making life!</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span lang="en"><i><b> Representation III (after Harold Baim)</b></i><b> (installation views)</b></span></span></span></div>
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<b><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><i>Representation III (after Harold Baim)</i> (SD video)</span></span></b></div>
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<i><span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: small;"><span lang="en"><a href="https://vimeo.com/53890634">Representation III (after Harold Baim)</a></span></span></b></span></i><span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: small;"><span lang="en"><a href="https://vimeo.com/53890634"> (HD on Vimeo)</a></span></span></b></span><i><span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: small;"><span lang="en"> </span></span></b></span></i></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-17120390548576166752015-05-09T13:08:00.000-07:002015-05-09T13:27:28.311-07:00Situationist Survival Kit for Arts and Spirituality, Poole<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl">"Being in love is dangerous because you talk yourself into thinking you've never had it so good" - David Salle</span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl"><br /> </span></span></span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl">In March I co-ran a workshop with artists Jason Miller and Jennifer Newbury at the <a href="http://lighthousepoole.co.uk/">Lighthouse</a> arts centre, Poole.
The idea of the workshop </span><span class="fsl">was to</span></span></span><span class="fsl"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"> look at how everyday creative practices can help us to look away from the unsatisfactory solutions of
commercialised leisure and to become more resourceful in finding ways to
occupy our own minds, rather than let them be occupied for us. </span></span></span><span class="fsl"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The
workshop was used to consider the relationship between spatial practice
and spirituality as we looked for ways in which to integrate mundane
art practices such as drawing, walking, re-imagining
spaces and keeping visual diaries into everyday life.</span></span></span></span></span></span></span></div>
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<span class="fsl"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"> </span></span></span></span> <br />
Consumer practices are often a reflection of that which is perceived to
be lacking in everyday life. From the annual holiday to the DFS sale,
there is a sense in which we put our trust in commerci</span></span><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">alised
leisure to transform mundane reality or as rewards for helping to fuel
the wheels of capitalism. As pseudo-individualised creativities have
become a commonplace part of everyday life, the social and institutional
structures through which these are organised have become more
transparent or revealed in full; thus exposing their paradoxes and
inadequacies in terms of reward and liberation. Yet, we have the power
to transform everyday life ourselves through creative practice; in
order to live a liberated and transfigured existence in which the
mundane becomes a catalyst for identifying intensify
personal creative and spiritual inquiry, through practice. </span></span></span></span><span class="fsl"><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show">Participants were asked to choose from a series of propositions for Situationist i</span></span></span></span></span></span><span class="fsl"><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"><span class="fsl"><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show">ntervention
tactics</span></span></span></span></span></span> to utilse on our planned walk </span></span></span></span></span></span><span class="fsl"><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="fsl"><span class="text_exposed_show"><span class="st">around Poole<i> </i></span>commercial centre, quay and waterside park. We then returned to the Lighthouse to
discuss the effects of our détournements.</span></span><br /><br />The work I produced for the project began with the instruction to observe everything at eye level and respond to what I saw and experienced. I made a series of image / text pieces using the ephemeral snapshots of Poole that I had taken to document my journey. The images are cropped to reference the image sharing website Instagram and the transient nature of online representation. The font is </span></span></span></span><span class="fsl"><span class="text_exposed_show"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span class="st"><a href="http://www.symbiotext.net/2012/08/31/symlogidin-font/"><i>SymLogiDIN</i></a> by Walter van Rijn</span>.</span></span></span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-43155840726996429622015-01-31T10:58:00.000-08:002015-01-31T11:18:27.024-08:00Living Under the Tourist Gaze<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4CDnBs_gMERrRjM4Z5PY2idhAwXUo_8ZBVuRQraEBxJe2GNfqxw_O6gk46aNVp72xPJVRdk934ZGOckf0IswD04DntZQvR1A5vUYChueA686lsmW3N0aJPhLFEblNbuwb18rmtJojmnU/s1600/New+Picture+(63).bmp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4CDnBs_gMERrRjM4Z5PY2idhAwXUo_8ZBVuRQraEBxJe2GNfqxw_O6gk46aNVp72xPJVRdk934ZGOckf0IswD04DntZQvR1A5vUYChueA686lsmW3N0aJPhLFEblNbuwb18rmtJojmnU/s1600/New+Picture+(63).bmp" height="400" width="640" /></a></div>
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<span style="color: black;"><span style="font-family: Calibri, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-size: large;"><span style="font-family: "Courier New",Courier,monospace;"><br /></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Calibri, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-size: large;"><span style="font-family: "Courier New",Courier,monospace;"><br />'a
high price for emotional labour';</span></span></span></span></span></span></span></span><span style="font-size: large;"><span style="font-family: "Courier New",Courier,monospace;"><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">subtle
and covert modification; under the representational demands; playing 'tour-guide' for others; navigating
the objects, interests and values that made up 'home'; the devolution
of our shared life and an opening out </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">to
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">change
and flux; oscillation between private and public, ontological meaning
and representational meaning</span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">; “we love
playing host and welcoming guests into our home”; the desire to go
backstage, to penetrate the heart of their host’s everyday life;
“</span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">b</span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">efore
long we were feeling very at home”; </span></span></span></span><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">s</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">omething
was eating away at the 'staycation' dream; a hub of transient
sociality; “</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">we
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">hadn't
realised that we shared the bathroom with the hosts</span></span></span></span></span></span><span style="font-size: large;"><span style="font-family: "Courier New",Courier,monospace;"><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-size: large;"><span style="font-family: "Courier New",Courier,monospace;"><span style="color: black;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">”</span></span></span></span></span></span>; “records,
bands and DJs are an important part of our life”; “</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">we
spent </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">some
quality time with Bev who was kind enough to mix some </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">80s
music for us”; mutability was key to our success; “</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">B</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">ev's
paintings are all over the place and give it a very personal
feeling”; </span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">e</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">motional
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">s</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">elling
</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">p</span></span></span></span><span style="color: black;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;">oint; the fallout of aesthetic rhetoric; art
becomes commerce, place becomes space, home becomes homelessness;
</span></span></span></span><span style="color: black;"><span lang="en"><span style="font-style: normal;"><span style="font-weight: normal;">staged
authenticity concealed the essence of human sadness</span></span></span></span></span></span><span style="color: black;"><span style="font-family: Calibri, sans-serif;"><span style="font-size: x-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-size: large;"><span style="font-family: "Courier New",Courier,monospace;"><span style="font-family: Calibri, sans-serif;">... </span></span></span></span></span></span></span></span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-45845651950531376172015-01-30T06:31:00.003-08:002015-01-30T06:32:54.460-08:00What is leisure?<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;">Q. <br />Are the situationists at the vanguard of leisure society?<br /><br />A. <br />Leisure society is an appearance that veils a particular type of production/consumption of social space-time. If the time of productive work in the strict sense is reduced, the reserve army of industrial life works in consumption. Everyone is successively worker and raw material in the industry of vacations, of leisure, of spectacles. Present work is the alpha and omega of present life. The organization of consumption plus the organization of leisure must exactly counterbalance the organization of work. “Free time” is a most ironic quantity in the context of the flow of a prefabricated time. Alienated work can only produce alienated leisure, for the idle (increasingly, in fact, merely semi-idle) elite as well as for the masses who are obtaining access to brief periods of leisure. No lead shielding can insulate either a fragment of time or the entire time of a fragment of society from the radiation of alienated labor, because that labor shapes the totality of products and of social life in its own image.<br /><br />(Situationist International)<br /><br />Taken from “Le Questionnaire”, which originally appeared in Internationale Situationniste #9 (Paris, August 1964). This translation by Ken Knabb is from the Situationist International Anthology (Revised and Expanded Edition, 2006). </span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-12174298174257992292015-01-28T00:49:00.000-08:002015-01-28T00:50:50.717-08:00Ownership, Appropriation, Dwelling<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="body-text" style="text-align: left;">
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj14ZroSW9i49Vfkh2ywlQsHHpJeuOeAYe8jxwv6Fq8gDopjaUBZJWe6VnDrCpsUFI82LNPVOouabDIHvV-Tuirkq7PKbx3S-qB5iIrXS2Ls8xZl6gUmeuBVps4lYyo-wX4VP0lRSc_q4/s1600/CIMG1015.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj14ZroSW9i49Vfkh2ywlQsHHpJeuOeAYe8jxwv6Fq8gDopjaUBZJWe6VnDrCpsUFI82LNPVOouabDIHvV-Tuirkq7PKbx3S-qB5iIrXS2Ls8xZl6gUmeuBVps4lYyo-wX4VP0lRSc_q4/s1600/CIMG1015.JPG" height="480" width="640" /></a></div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><b><br /><br />Ownership</b></span></span></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">For Crouch, the embodied act of walking is a really
important part of developing substantive relations with a place and of
developing a sense of ownership of it. Walking is an opportunity to
embody spaces and become immersed in the multi-sensory world that
surrounds us. Indeed, Crouch argues that it is only through ‘embodiment’
that we can begin to enact the ‘primal social practices of shared
space, that [can] be imbued with mythologies and images of ownership’
(Crouch, 1998: 168). In other words, by walking and playing in spaces we
generate our own mythologies through visual and experiential memories
of place; and this, in turn, produces representational spaces as we
revisit spaces and rejuvenate them with discursive practices and
psychogeographic narratives. Here I’m suggesting that everyday spatial
practices produce subjective freedom, rooted in an ontological
authenticity of place. As an anecdotal example of this, I have chosen to
use my personal relationship with Bournemouth Pier.</span></span></div>
<div class="western" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">For many years I avoided Bournemouth Pier as it
seemed to be the central focus for day trippers who would park their
cars close by and cram into the areas of beach either side, where they
would have easy access to nearby services – fast food restaurants and
amusement arcades. It seemed apparent that the pier was a product of
class zoning, with all of these kinds of services pushed into a small
area. However, in recent years Bournemouth Pier has become a hub for the
resort’s annual arts festival. Indeed, the space has been used for a
series of performance art parades in which I have participated, and a
number of high profile art films have been shown in the pier theatre
including a full screening of Matthew Barney’s The Cremaster Cycle. As a
result of these things, I have felt able to occupy the space and gain a
sense of ownership of it, which has not subsided since.</span></span></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">This idea of ownership is very important in art. It
is strongly related to the concept of appropriation or borrowing.
Borrowing is often how we make sense of the world around us. When we buy
an item of clothing, for example, we are not simply owning it but
borrowing its meaning for use as part of an assemblage of images or what
Baudrillard would term ‘bricolage’. Likewise, places can equally be
borrowed. We objectify and consume places and place images through
images that reproduce the tourist gaze. In turn our own photographs,
reproduce the reproductions in an attempt to overwrite the object of our
tourist gaze with personal narratives and stamps of ownership.</span></span></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<br /></div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><b>Appropriation</b></span></span></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Appropriation as a means of ownership is also a
pivotal idea in field of ‘psychogeography’. Psychogeography is ‘the
study of the precise laws and specific effects of the geographical
environment, consciously organized or not, on the emotions and behaviour
of individuals’ (Debord, 1955). Situationist International founder Guy
Debord argues that the geographic environment dictates our movements and
affects our emotions and behaviours. Likewise, geographic environments
are designed to be used in certain ways and by particular kinds of
people. Spaces can exclude as many people as they include, for example,
the young, the old, and those with physical or mental disabilities.
Lefebvre refers to the maps, plans and strategies of urban planners and
social engineers as ‘representations of space’ (Lefebvre, 1991).
Representations of space are ways of controlling the way spaces are used
and the people who use them. Likewise, the seafront environment, which,
on the surface seems to represent communality, inclusively and freedom,
is a highly orchestrated and controlled space. From CCTV cameras to
“beach patrol”, the beach is infiltrated by what the French philosopher
Michel Foucault terms ‘the apparatus of power’ (Foucault, 1975).</span></span></div>
<div class="western" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Debord’s focus on walking as an everyday “tactic”
through which we contest and disrupt the established symbolic order of
spaces, is adopted by Michel de Certeau (1988). De Certeau proposed that
maps and other such totalising spatial discourse or representations of
space have the effect of rendering the act of walking invisible, by
joining up points to draw a line which fixes the act within their
technocratic structures. Thus, such representations ‘constitute
procedures for forgetting’… by transforming …‘action into legibility,
but in doing so… [causing] a way of being in the world to be forgotten’
(de Certeau, 1988: 97). However, he then introduces the concept of
walking as ‘enunciation’ – an act of speech; suggesting that ‘the
topographical system’ is appropriated in the same way as ‘the speaker
appropriates and takes on the language’ (Ibid, 1988: 97-98). These
speech acts are not simply affirmative descriptions of space like a
series of ‘yes’ responses to the calls of the town planners who cry: Is
the space the same shape as its supposed to be? Do you flow as you are
supposed to flow? They are not simply the acts of drawing lines on maps.
They are ways of using the language provided in new ways and to new
ends. De Certeau extends the analogy to the acts of writing and
painting, suggesting that the relationship is like that of ‘the act of
writing and the written text’ or ‘the “hand” (the touch and tale of the
paintbrush…) and the finished painting’.</span></span></div>
<div class="western" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">For de Certeau (1984) we are not simply the passive
“readers” of urban space. By using spaces – walking, playing, stopping,
looking – we are in fact “writing” them; personalizing, adapting,
amending and even modifying their meanings. He argues that walking
‘manipulates spatial organizations’ or ‘creates shadows and ambiguities
within them’ (de Certeau, 1984: 101). An example of this is in the use
of a wall designed to prevent the walker from going further. If the
walker then uses the wall as a make-shift seat to rest and view their
surroundings, then they are re-inscribing this object with a new and
personal meaning that flies under the raider of spatial control. The
ambiguity of surveillance is a further example. The seafront and in
particular the promenade embodies the flâneuristic sensibility of being
private in public;the carnivalesque pleasure of anonymity; of seeing and
being seen, safely hidden within the crowd. As Hebdige (1988) suggests
appropriation is disarming and that subcultural performance ‘forms up
the space between surveillance and the invasion of surveillance, it
translates the fact of being under scrutiny into the pleasure of being
watched. It is hiding in the light’ (Hebdige, 1988: 35).</span></span></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<br /></div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><b>Dwelling</b></span></span></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">It would also be useful at this point to begin to
clarify the relationship between appropriation and dwelling. Dwelling is
the idea of an ontological authenticity rooted in the process of taking
up and occupying spaces and objects (Pons, 2003); and key to this is
the notion of appropriation. For Larsen (2008), the vacation provides
opportunities to deconstruct the primal practices of dwelling through
play. He refers specifically to the symbolic materiality of tourist
practices like the domestication of ‘vacation stages by building
sandcastles and decorating the rented house with the collected shells
and stones’. In Bournemouth this can be seen in the routine occupation
of beach huts and the mundane practices such as reading and tea
drinking, which come into play in and around these spaces. Likewise,
campfires and barbeques provide a centre-point for dwelling practices.
Further to this, Larsen suggests that these kinds of practices highlight
‘how tourists enact corporally and multi-sensually, routinely and
creatively with landscapes’ (Larsen, 2008: 28). In my own art practice, I
recently orchestrated a project for SIX Project Space in Bournemouth,
which focused on the concept of dwelling through appropriation. Indeed, I
will utilise the FROUTE project, within this study, as empirical
evidence of such practices.</span></span></div>
<div class="western" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">The notion of dwelling as authenticity is fundamental
to the concept of everyday tourism because of the way that it is
perceived by modern societies to be lacking from everyday life and
present in tourism. MacCannell views tourism as a manifestation of the
need of modern societies to look for authenticity ‘in other historical
periods and other cultures, in purer, simpler lifestyles’ (MacCannell,
1976: 3). Moreover, the holiday can provide opportunities to ‘act out’
traditional forms of living and ‘perform’ simpler, idealised versions of
our selves (Edensor, 2001; Larsen, 2008). For Dovey, the search for
authenticity is symptomatic ‘of a deep crisis in modern
person-environment relationships’ (Dovey, 2000: 33). In Marxist terms
the discourse represents a need to return to a state where we are not
separated from the means of production and ‘where the processes of
environmental change are integrated with everyday life’ (Ibid, 2000:
43). She further argues that authenticity is ‘rooted in indigenous
process [and is] found and generated in the dwelling practices of
everyday life’ (Ibid, 2000: 44). This proffers two oversights, both of
which oppose the notion of everyday tourism. Firstly, that one can only
ever dwell at home, and secondly, that it is always possible to be an
“insider” at home. However, Dovey approaches the notion of ‘indigenous
authenticity’ with caution, emphasising inherent paradoxes with her need
to add an ontological reading of the discourse ‘in the modern world -
not as a condition of things or places, but rather as a condition of
connectedness between people and their world’ (Ibid, 2000: 46).</span></span></div>
<div class="western" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Dovey’s model of authenticity in dwelling is
particularly useful, as it takes the idea of ontological truths rooted
in personal meaning and relates this to postmodern environmental forms.
She argues that the quest for authenticity that permeates many
postmodern cultural practices increasingly contradicts much that is
found in the man-made environment; and yet individuals continue to
derive meaning from ‘fake or inauthentic’ places and things. As she also
points out, ‘[t]o accuse someone, their possessions or their home of
being inauthentic implies a strong moral judgement’ (Dovey, 2000:33).
MacCannell (1976) recognises this social stigma in his observation that
tourists don’t wish to be identified as such. Likewise, to call someone a
“tourist” in everyday life suggests that you are implying that that
person has inauthentic relations to world that they inhabit, a permanent
outsider who will never know how to experience anything first-hand and /
or “for real”. Dovey illustrates the process, which turns something
authentic into something inauthentic with the example of window
shutters. Moreover, she makes the distinction between two entirely
different functionalities that dominate ‘person-environment’ relations.
Shutters are an environmental form that was once a response to
environmental factors. They were once understood vis-à-vis environmental
function as possessing the ‘use-based meaning of “shutting” ’. Today
however, they often only possess the ‘image-based meaning of
“decorating” ‘ (Dovey, 2000: 36). Over time, shutters have become
detached from the ‘processes of environmental change’ leaving them as
free-floating signifiers (Ibid, 2000: 43). However, Dovey claims that it
is not that this historical process that makes something “fake”, but
that inauthenticity paradoxically ‘emerges out of the very attempt to
retain or regain authenticity’ (Ibid, 2000: 36). For Dovey, authenticity
is not something that can be attained by the sprinkling of fairy dust,
as Disneyworld is testimony to, but it is a by-product of the process of
functional ‘concerned’ relationship between people and their
surroundings. Key to this is appropriation or ‘incorporation of the
world into our-selves’ (Ibid, 2000: 37).</span></span></div>
<div style="text-align: justify;">
</div>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">The ontological motivations of certain types of
tourist practices are also manifest in material practices of everyday
production, which centre on the discourses of ownership, appropriation
and dwelling. These material manifestations appear as objects of
“self-making” or ‘technologies of the self’ (Foucault, 1988) and also as
objects of concern or ‘taking care’ (Heidegger, 1964). However, these
practices are not materialist in Bourdieu’s sense of the word. While
there are indeed elements of both conspicuous consumption (Verblen,
1899) and the positional acquisition of cultural capital (Bourdieu,
1979), these practices encompass consumption as an everyday form of
production, which is:</span></span></div>
<div style="text-align: justify;">
</div>
<ul style="text-align: justify;">
<li>
<div class="western">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">A transformative symbolic act, decoupled from material acts of purchasing</span></span></div>
</li>
<li>
<div class="western">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">An ongoing reflexive process in which the self is reformed</span></span></div>
</li>
</ul>
<div class="western" style="text-align: justify;">
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">These discourses are characterised by everyday
creativities, which are active forms of visual and embodied engagement
that symbolise an ontological struggle in which substantive
inter-personal and intra-personal meaning is produced. Moreover, this
draws upon the notion of the post-modern self as a ‘process model’, open
to reformation through new experiences and represented via everyday
forms of production (Wearing and Wearing, 2001). Miller suggests the
importance of the rise of leisure in democratising production. He cites
the popularity of hobbies in the Nineteen Seventies and the rise in
‘pursuits in which people buy small scale production facilities (e.g.
beer-making equipment)’ as emblematic of this (Miller, 1993). Today this
process manifests itself in the production of private leisure spaces
such as gardens and terraces. This can be seen as a reflexive act in
which we recognise the arbitrary and constructed nature of tourist
spaces by contriving similar spaces at home: Patio heaters, barbeques,
chimineas, decking, sub-tropical plants and sun-loungers are all
semiotic bit players in the production of everyday tourist spaces. This
is a description that could easily be misrepresented as illustrative of
conspicuous or positional consumption practices. However, taking into
account practices of ownership, appropriation and dwelling in the
context of notions of subjective freedom and ‘existential authenticy’
(Hughes, 1995; Wang, 1999), it is possible to see how these kinds of
texts help to reproduce the kinds of ontological structures of ‘being in
the world’, that we employ on holiday, in order for our tourist
experiences to become useful. This involves an ontological understanding
of the world as emerging - of the appearance and dissolution; the
revealing and concealing of things in themselves - from a (their) base
ground that Heidegger terms ‘earth’: the objective nature of things,
which is unknowable. In turn, ‘earth’ conceals or shelters ‘world’; or
that which we think we know, and, paradoxically, is ‘on which and in
which man bases his dwelling’ (Heidegger, 1978: 107).</span></span></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-59364223602517055252014-12-23T13:34:00.001-08:002015-04-28T13:01:31.561-07:00The Resurrection of the Sea Brides – 11/10/2014<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQjwnc940HraKHpaSurL2ICtnsdJqiC3xNf67vwgKiWmacW9gkTvEcU-83MsMursSkpGgbLrXzHFIiTmbLyhDMUwjyY2LepIpPKMy5ekB75FI84coNJiUWohhdQojhOyGMzUFcXfTaV5s/s1600/10339564_992721307420723_8944740292820458842_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQjwnc940HraKHpaSurL2ICtnsdJqiC3xNf67vwgKiWmacW9gkTvEcU-83MsMursSkpGgbLrXzHFIiTmbLyhDMUwjyY2LepIpPKMy5ekB75FI84coNJiUWohhdQojhOyGMzUFcXfTaV5s/s1600/10339564_992721307420723_8944740292820458842_n.jpg" height="300" width="640" /></a></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-weight: normal;"> Photography by Mel Bray</span><i><span style="font-weight: normal;"><br /><br />The
Resurrection of the Sea Brides</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(2014)
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">is
a live art performance commissioned for Bournemouth Arts by the Sea
Festival. The piece, conceived and directed by Zerelda Sinclair,</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">took
place in the crumbling 'Gothic' location of Shelley Theatre on the
11th October. The venue, which was built by the poet Percy Shelley's
son </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">and</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
once contain</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">ed</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
a shine to the late poet, created by his daughter in law Lady Jane
Shelley, who had spiritualistic beliefs. Indeed, it was this notion
of memorial and Lady Jane's lifelong obsession with the
representation of the Shelley myth </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">that
drew Sinclair to the venue</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
The piece follows on from last year's <i>Marriage of the Sea Parade</i>
(2013), </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">which
navigated its way through a series of locations in central
Bournemouth last October</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.</span></span></span></span></span></div>
<div align="JUSTIFY" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; text-decoration: none;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Sinclair
has worked on numerous live art projects, including previous
commissions for Bournemouth Arts by the Sea Festival – </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">Grand
Grotesque Parade</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(2011), </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">Land
of Lower Gardenia</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(2012). Sinclair is also one half of live art duo The Girls. The duo
have a long history of using tableau photography and self-portraiture
to explore codes of representation of the female subject and the
appropriation of feminine semiotic forms. Their work also centres on
the concept of the 'alter' </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">and
the</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
transformation of identity through the use of masks, costumes and
make-up. Drawing upon influences as diverse as Cindy Sherman and
Julia Margaret Cameron, their work focuses on the </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">carnivalesque</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
inversion of patriarchal codes of photographic representation, which
produce the unified and gazed upon female 'other'. However, their
work also uses androgyny, mutability and passivity to produce
pluralistic subjectivities that are neither masculine nor feminine
but are instead transformative </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">and
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">magical
but fundamentally human. In </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">William
and Harry</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(1997), for example, The Girls employ the idea of gender
transformation to speak of the common humanity behind the pomp and
ceremony of masculine roles within the Royal Family, following the
death of the princes' mother. </span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">This
latest work </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">is
the sequel to</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> <i>Marriage of the Sea Parade</i> (2013), a mythological enactment, in which a collection of 'virgin' maidens
were offered up by their fathers to take part in a sacrificial
ceremony, which 'w</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">e</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">dded'
them to the sea. The piece culminated in a procession in which the
maidens made their merry way to Bournemouth Pier as the darkness of
the evening descended; where </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">upon
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">they
were met by a boat, which they sombrely boarded after a ceremony:
their rite-of-passage to a watery afterworld. The performance
followed the narrative tradition of sacrifice - a dramatic enactment
of thanksgiving for good fortune over the course of the coastal
town's relatively short existence and as a means of securing
providence for its future.</span></span></span></span></span></div>
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<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5M0xmRhv7IbJ9IxJWrXC408rvS3G0Bcr-Mbd_WulMHhjJRehn14lDf6PAp4Gxey7PBsUb1ivYFo4I9n5B01vRyXda4X5bsDBt1JPZ_SK0fIF1BWhOz7cglL4jWBcI-47UZk1azUrOd4/s1600/1237065_735042059855317_1790079218_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG5M0xmRhv7IbJ9IxJWrXC408rvS3G0Bcr-Mbd_WulMHhjJRehn14lDf6PAp4Gxey7PBsUb1ivYFo4I9n5B01vRyXda4X5bsDBt1JPZ_SK0fIF1BWhOz7cglL4jWBcI-47UZk1azUrOd4/s1600/1237065_735042059855317_1790079218_n.jpg" height="512" width="640" /></a></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> A still from <i>Marriage of the Sea Parade</i> (2013)</span></span></span></span></span>
</div>
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<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
inspiration for the project stemmed from a series of observations
from Sinclair's first hand experience of marriage and heterosexual
relationships as modelled by those around her. In 2005 Sinclair found
herself caught in this trajectory after getting married in what she
describes as “a typically kitsch and sugary Catholic white
wedding”. She is now “thankfully” divorced and has since
rejected motherhood. Her feeling, in hindsight, is that marriage
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">even
today</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
is an almost unavoidable trap for many women. In an age of liberal
individualism, marriage seems to have become entwined with consumer
lifestyle choices. The option to opt-out seems to defy the lure of
the glittering path that is laid out by peers, family and wider
society. Commercialised leisure becomes the Pied Piper, promising a
shining lifestyle package that will preserve female desirability and
youth. This package seems to be the perfect solution to the
inevitability of physical degeneration, perceived loss of sex appeal
and the hellish reality of rejection and invisibility of </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">older
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">women
in our patriarchal society. However, this lifestyle masks a reality
of enslavement within a club that becomes impossible to leave. </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">T</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">he
myth of the ageing spinster is nothing compared with the reality of
the effects of motherhood. From Sinclair's perspective, new mothers
often seem socially isolated, reliant </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">on</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
misinformation </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">from</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
lifestyle magazines, and are left feeling insecure about their
abilities to perform their designated role. Moreover, the more a new
mother relies on commercialised lifestyle choices to compensate for
her perceived inadequacies, to be the best mother she can be, the
more reliant she becomes on her partner's income. The white wedding
becomes the sugar-coated lure for this female subjection. </span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Sinclair
drew upon research into wedding traditions of Renaissance Italy </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">for
the project</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
What particularly fascinated her is that fact that the patriarchal
codes of female subordination implicit in weddings of today were an
explicit part of the ritual performances and artefacts of those
ceremonies. The weddings of the Venetian aristocracy of the 14th-17th
century were highly ostentatious affairs; conspicuous displays of
wealth and power, in which the bride was seen as another prized
possession along with her dowry. Great casks containing the dowry
known as </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">cassoni</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
were paraded alongside the bride. These often bore depictions of the
historical legend of the </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Rape
of the Sabine Women</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">',</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">a</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
story set in the founding of Rome around 800BC. The city's founder
Romulus had to negotiate with the surrounding tribes as the
population of Rome was predominantly male and needed females to
secure the future of the city. By stealth, Romulus organised a
festival and invited neighbouring tribes to a day of celebration. The
myth concludes with the violent abduction of the womenfolk of the
Sabine tribe. Interestingly, these kinds of captures were described
using the term 'rape', from the Latin </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">raptio</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
which only later came to incorporate the sexual violation
consequential of such abductions. Indeed, Sinclair </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">also
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">employed
this notion of capture-through-deception in the first part of this
series, </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Marriage of the Sea Parade</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(2013), which drew upon a specific element from the Venetian
ceremony, which often included, according to Jacqueline Musacchio
(1998), a 'public procession of the bride and her dowry as a triumph,
with the captured woman escorted to her husband's home surrounded by
excessive displays of wealth and power'. </span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">In
terms of displays of ostentation, very little appears to have changed
in twenty-first Century Europe. The key difference today, of course,
is that women seem</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">ing</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">ly
have power and control over proceedings. However, is this really the
case or have prospective brides simply internalised the male gaze
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">and
patriarchal power relations</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
in self-objectification, as part of the semiotic order of the objects
they represent themselves amongst? Everything from the white dress,
to the floral bouquets, to the sugared almonds become part of the
limited pallet through which the bride is able to represent herself.
A romantic aesthetic of virginal femininity is dominant but as Helena
Cixous </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(1975)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
in </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">Sorties</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
– </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">her
seminal essay in which she attempts to separate the feminine from
masculine binary systems of 'othering'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
– </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'where
is she' in </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">this</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
pseudo-individualised tool</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">box</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
of representation? Indeed, it is interesting to note that it is no
longer the father of the bride who presides over the wedding –
offering up their daughter as part of a package of goods – but is
instead the mother who symbolically gives the girl away
to a system of </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">fetishised
</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">femininity
and </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">commercialised
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">motherhood.</span></span></span></span></span></div>
<div align="JUSTIFY" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; text-decoration: none;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Of
course romantic projections are at the root of modern wedding
traditions. The ideal of the pure and vulnerable maiden who</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">m</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
is neither unified nor complete and therefore seeks the union of a
strong and guiding male in order to be 'completed' in matrimony,
preserves the myth of women as irrational, disordered and unwhole.
Completion (within the terms of the commercialised system of
marriage) is inevitably defined as being 'chosen' by a man as the
worthy bearer of his offspring. A woman, in this system, is not
'complete' unless she fulfils that destiny. Indeed, in Renaissance
Italy, women who did not marry were viewed with suspicion and as a
proprietorial liability, in part because their sexuality was not
institutionally containable.</span></span></span></span></span></div>
<div align="JUSTIFY" style="font-style: normal; font-weight: normal; line-height: 150%; text-decoration: none;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">For
feminist theorists, drawing upon the psychoanalytical work of Freud
and Lacan, the notion of disunity and incompleteness stems from a
phase of child development known as 'the mirror stage'. The moment
the child first recognises itself in a mirror, it becomes aware of
itself represented as a unified whole, whereas small children are in
fact discordant, uncoordinated and far from unified. Moreover, in
order for the child to (mis)recognise its 'self', it </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">must
also</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
reject </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">its</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
pre-Oedipal union with the mother and turn instead to the father for
cues for self-identification. It is at this point that the child
loses its unity with the mother and from then on blames </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">he</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">r
for loss of this rapturous completeness or 'jouissance'.</span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;">
</span></span></div>
<div align="JUSTIFY" style="font-style: normal; line-height: 150%; margin-bottom: 0cm; text-decoration: none;">
<br />
<span style="color: black; font-size: small;"><span style="font-family: Calibri, sans-serif;"><b>The
feminine and the sea</b></span></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
sea represents the unknown: both a threatening realm that must be
conquered and named by men, and an unnameable womb-like force; an
all-consuming love, which the maiden brides-to-be have not known
since union with their mothers. This loss of bond with the mother as
governing power, is perhaps at the root of what Sinclair describes as
“bad mother syndrome” – our cultural disposition to blame the
mother for all that is 'wrong' with a child – be that hysterical or
wayward tendencies, or genetic irregularities. This is poignantly
reflected in one of the brides' ritual chants from The Resurrection
performance: “We forgive the mother who bore us”. However, </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">it</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
prompts the question – what are the brides forgiving their mothers
for? For giving them up for sacrifice, </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">f</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">or
handing them over to their fathers or simply for bringing them into
the world as female? The exact meaning of this line remains
ambiguous, however one thing is certain, these brides are not happy
about the ease with which they were duped into their watery graves!
In the context of </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Resurrection of the Sea Brides</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
the symbolic marriage to the sea encapsulates the siren-like allure
of submission to the 'irrational', unknowable, womb-like forces of
nature (water mother of life). This great unknown is the
unreconstructed feminine, which is rejected by the father. And, the
wedding ceremony in these terms, comes to symbolise both this
rejection and the patriarchal sacrifice of that which French
post-structuralist Julia Kristeva (1984) terms the 'semiotic chora' –
a 'space' which holds the presignifying impulses, drives, feelings
and sensations which predate the [female] subject's entry into the
symbolic and gendered subjectivity'.</span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3aQiE5cRR8qoOY21MNDLEM71XcvO-kWwO4q13REwROlCUEe5B5uzBeXmFNR-qgz4PdBmSWjI6j8oog1kAiQAKMPHC0sEMlDarrJ6uTfGusBR16Mk57d9DW4Kz3SGNE4GsUoNpffiS6Vc/s1600/10502019_992624697430384_2627615820492228209_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3aQiE5cRR8qoOY21MNDLEM71XcvO-kWwO4q13REwROlCUEe5B5uzBeXmFNR-qgz4PdBmSWjI6j8oog1kAiQAKMPHC0sEMlDarrJ6uTfGusBR16Mk57d9DW4Kz3SGNE4GsUoNpffiS6Vc/s1600/10502019_992624697430384_2627615820492228209_n.jpg" height="368" width="640" /></a></span></div>
<div align="JUSTIFY" style="line-height: 150%;">
<br />
<span style="font-family: Calibri, sans-serif; font-size: small;"><b>The
maidens</b></span></div>
<span style="font-size: small;"><br /></span>
<br />
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
patriarchal projection of the virginal maiden – the child yet to
become a woman and whom can only do so in consummative union with a
man – is essential to the fetishistic allure of the wedding
imagery. The wedding is a transformative event: a liminal or
intermediate realm between childhood and adulthood. However, in
reality </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">marriage
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">can
all too often represent the gap between the ideals of the imagination
– the unquestioning belief in the alchemic capacity of the
imagination to transform the mundane world of things. </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Conversely,
it </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">can
also embody </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">the
stifling disappointments of commercialised leisure – the religious
belief in the inverse capacity of commercialised objects to activate
and transform the sublimated world of the imagination. Planning a
wedding becomes a creative act focused on the finite. The bride-to-be
and her mother work intensively to produce the wedding tableau, to
distil and refine its meaning into a 'perfect moment' so that it can
be frozen forever. In his famous essay 'Diderot, Brecht, Eisenstein',
Roland Barthes </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(198</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">5</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">)
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">describes
the refining process required in the creation of tableaux: </span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; margin-left: 1.25cm; text-decoration: none;">
<span style="color: black; font-size: small;"><span style="font-family: Calibri, sans-serif;">In
order to tell a story, the painter possesses only one moment: the one
he will immobilize on the canvas; hence, he must choose this moment
well, affording it in advance the greatest possible yield of meaning
and of pleasure: necessarily total, this moment will be artificial...
, it will be a hieroglyph in which can be read at a glance... the
past, the present and the future... This crucial moment, totally
concrete and totally abstract, is what Lessing will call the pregnant
moment (Bathes, 1985).</span></span></div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">This
projection of set images predominantly sets the nuptial tableau in
memoriam, </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">which
marks the death of the girl rather than the birth of a </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">woman
but as a memorial to the death of the girl: a perfect moment in which
the bride blooms briefly before the onset of disappointment and
decay. Here, the wedding becomes fetish object: aestheticised
tableaux, framed and frozen in photographic representation. </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">In
the words of Fiona MacCarthy (2006), t</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">he
bride's 'shining dewy look of youth' is captured, together with the
filagree dress of delicate lace and the fragile lilies timed to bloom
on 'the big day', shortly before they wilt, shrivel and desiccate. </span></span></span></span></span>
</div>
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<span style="font-size: small;"><br /></span>
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Notions
of the-bride-to-be as pure and in tact, are key to th</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">e</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
visual misnomer of the wedding as celebration of blooming female
perfection, and by proxy, its potency as a memorial. Indeed,
traditionally, Saint Agnes (patron saint of virgins) has been a
guiding light for </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">the
virginal white</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">image</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
Agnes was an early Christian convert who refused to give up her
religion (and virginity) to become a Roman consort and thus was
martyred as a result. The famous poem by John Keats recalls a
superstitious custom whereby on St Agnes' Eve, young maidens would go
to bed supper-less, sometimes placing each of their shoes on opposite
sides of their beds – one containing rosemary, the other thyme –
in the hope that the spirit of Saint Agnes would show them visions of
their future husbands in their dreams. </span></span></span></span></span></div>
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<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzmP2-RcnNYVV5l_3fuZTxeIiyEJeGJte1sh6ZuXjqQFsUeRqeWgJlMQuQLRObLLNPNvireAtUBopv4tUBO1Gty106Jb_7QZ9-DX1xOGYI4rl-JDy18KAa2A3N_aGLnkadWkIXt6K4ozo/s1600/10367716_992624724097048_9038103130632019720_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzmP2-RcnNYVV5l_3fuZTxeIiyEJeGJte1sh6ZuXjqQFsUeRqeWgJlMQuQLRObLLNPNvireAtUBopv4tUBO1Gty106Jb_7QZ9-DX1xOGYI4rl-JDy18KAa2A3N_aGLnkadWkIXt6K4ozo/s1600/10367716_992624724097048_9038103130632019720_n.jpg" height="486" width="640" /></a></span></div>
<div align="JUSTIFY" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; text-decoration: none;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span></span><span style="font-size: small;">
<span style="color: black;"><span style="font-family: Calibri, sans-serif;"><b> </b></span></span></span></div>
<div align="JUSTIFY" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; text-decoration: none;">
<span style="color: black; font-size: small;"><span style="font-family: Calibri, sans-serif;"><b>Death
and memorial</b></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">In
Western society we have a morbid fascination with the deaths of young
women, and tend to eulogise them as martyrs. The slain</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Grand
Duchess Anastasia of Russia and her sisters, Natalie Wood, Marilyn
Monroe, Princess Diana and more recently Amy Winehouse and Peaches
Geldof,</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">have
all attained posthumous status as tragic icons to lost youth and
feminine beauty destroyed in its prime. We are fascinated by their
moment of death and cannot imagine it as real. </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">W</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">e
construct conspiracy theories to mystify the moment, imbuing it with
mythologies, which tap into the darkest</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">fears
and desires of </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">the</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
subconscious. Likewise, the murder (and suicide)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">of
young women attracts more media coverage than that of male youths. We
seem to find it titillating. Last year's </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">Marriage
of the Sea Parade</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
used this fascination to dramatic effect: exciting the crowd of
spectators with the knowledge of the maiden's impending sacrifice as
the boat eerily manoeuvred away from the pier and disappeared into
the night.</span></span></span></span></span></div>
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<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
death of beauty, perfection or the breach of bodily unity are all
themes which run through art history; both in the rendering of
subjects like Saint Sebastian, the Raft of the Medusa, and Ophelia,
and in specific theoretical and practice-based developments like
Surrealism, Viennese Actionism, and approaches to Kristeva's notion
of </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">the
abject</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
Likewise, from Harold Edgerton's photographs of the moment a bullet
passes through and destroys an object, to Robert Mapplethorpe's
'still-lifes' of flowers, there is something fascinating about
capturing the moment of, or preceding, death. Indeed, photography,
film and the historical tableau are all haunted by the idea of
capturing the moment of death or the death of the moment. The terms
'capturing the moment', 'the decisive moment', 'the pregnant moment',
and 'the still-life' all acknowledge art as </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">memento-mori</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
</span></span></span></span></span>
</div>
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<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Resurrection of the Sea Brides</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
is described by Sinclair as </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">tableaux
vivant</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(living pictures), a live art or performance genre that revels in the
conventions of history painting: the set formation of the 'actors',
the emphasis on minute gestures and facial expressions, the
freeze-framing of actions and props such as flags, staffs or weapons.
The piece, most noticeably does this, through a combination of live
action and film. </span></span></span></span></span></div>
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<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDEwbi85VOaNErhrxbg02wc9-PTpgQlv3HerPfwpb5lHIvvSy1ebK0hDH9a0UcD2kEFil_wZYx0ZZH9xHdPfIBtSANVDkeeHHiUoCCBk36XfrIF_vEkWz1_fblTIxymdK5QpmLHErPlN0/s1600/10592722_992625924096928_8831645519605794270_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDEwbi85VOaNErhrxbg02wc9-PTpgQlv3HerPfwpb5lHIvvSy1ebK0hDH9a0UcD2kEFil_wZYx0ZZH9xHdPfIBtSANVDkeeHHiUoCCBk36XfrIF_vEkWz1_fblTIxymdK5QpmLHErPlN0/s1600/10592722_992625924096928_8831645519605794270_n.jpg" height="374" width="640" /></a></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span></span><span style="font-size: small;">
</span></div>
<div align="JUSTIFY" style="font-style: normal; line-height: 150%; margin-bottom: 0cm; text-decoration: none;">
<span style="color: black; font-size: small;"><span style="font-family: Calibri, sans-serif;"><b>The
cinematic element</b></span></span></div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Treated
to look like blue</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">cyanotype</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">
– </span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">a</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
p</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">opular
Victorian photographic printing process, most commonly used to
preserve images of objects such as flower</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">s
– t</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">he
cinematic element is projected behind the opening scene of the
performance, which involves a séance in which two seers (one male,
one female) invoke the spirit of a mother who has taken her own life
in response to the guilt she feels for giving away her daughters for
sacrifice. The dream-like film shows the mother enter an
'intermediate realm' between fantasy and reality, unconscious and
thought; a world Harold Bloom </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(1997)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
in discussion of the work of French philosopher and theologian, Henri
Corbin, describes as, that which lies '[b]etween the sensory and the
intellectual world... one akin to what we call the imaginings of
poets'. This 'dream-world' appears in the form of a twilight garden
that brings to mind the children's novel </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">Tom's
Midnight Garden </span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">by
Philippa Pearce (1958)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
This mysterious place was filmed in Boscombe Cliff</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Gardens
in Bournemouth, which originally formed part of the grounds of
Shelley Manor (now Shelley Theatre), the venue for the performance.
This location is the setting for a ritual scene, presided over by a
priestess figure </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">who
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Sinclair
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">refers
to as</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
“The Sea Witch”. The ceremony involves a series of bizarre rites,
including the cutting and removal of the mother's mourning gown, the
ingestion of sea</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">salt
– which historically has been used in rituals for purification –
and the transformation of the brides into ritual dolls. The action of
cutting the mother's garments is perhaps hinting at women's activism
and transgressive politics of feminism. Yet the mourning gown is
removed to reveal a heavily structured and constricting corset. For
Sinclair the corset was chosen because of its similarity to restraint
garments used in psychiatric hospitals. She agrees with the thesis
that the mental health system was (and still is) patriarchal, and
women are often falsely labelled as being </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'insane'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
if they do not conform to subordinate gender roles. A mother's
rejection</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">or
killing of her children is both the greatest taboo for a woman, and
an unquestionable indicator of insanity, despite precedences for
these kinds of acts in nature. Yet historically, patriarchal </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">social
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">structures
have rationalised the giving away of children to war. Indeed, this
system showed very little empathy toward mothers who had lost their
sons. After</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">World
War I, for example, the service to commemorate the dead was scheduled
to happen once </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">only</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
The advent of Remembrance Sunday was due to the huge demand of the
British public who called for a yearly day of remembrance. </span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
ritual dolls in the film have a more obscure symbolism, which has its
origin in Renaissance Italy. In wealthy families, when a girl</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">was
deemed unsuitable for marriage – be her seen as not meeting a
normative view of beauty or viewed as deficient in some way – she
would often be pushed into becoming a nun. By becoming a 'Bride of
Christ', her virtue would be both upheld by, and subsumed into, the
church. Indeed, this slightly awkward statement alludes to the fact
that virgins, who neither married nor became a nun were treated with
the utmost suspicion. A woman living alone would be suspected of
following a path of sin, and paradoxically, if she remained in her
paternal home, risked bringing her family into disrepute by mere
virtue of her celibacy. Virginity and religious devotion alone were
not considered substantial enough to scaffold a woman's moral fabric.
Therefore, there were two options only: marriage to a reputable man
and his house (his family), or </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">to
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">be
symbolically wedded to Christ. Indeed, there were (and still are)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">notable
similarities between the rites of the wedding ceremony and those for
consecrating virgins. Whilst matrimony secured a woman's virtue as a
good wife and mother, devoted to her husband, house and children,
nun</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">-</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">hood
cloistered them away from society, thus preventing them falling into
sin. However, even within the confines of the nunnery it was seen as
necessary to help a girl (now a Sister) to channel her motherly
devotion. This was done by gifting the young nun a devotional doll,
which often resembled the infant Jesus. However, surviving examples
show an ambiguous duality to these dolls, which resembled both the
Christ child and the dolls of children's play. Often richly dressed
in expensive fabrics, adorned with jewels and pearls, these objects
served the dual purpose of invoking both religious piety and
devotional desire in the young and malleable. This process of play as
the acting out of devotion was seen as a formative part of
establishing ritualised piety via that which psychoanalysts would
term pre-Oedipal libidinal drive. </span></span></span></span></span><span style="font-family: Calibri, sans-serif; font-size: small;">For
art</span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">ist
and theorist Victor Burgin (1986), this constitutes 'on the one hand
need, directed towards an object; on the other hand desire, directed
towards a fantasy object'. In the case of these dolls, the </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">need</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
is biological </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">to
love a child, as a mother</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">),</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
which is directed towards the doll (the object), and the </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">desire</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
is that for the manifestation of that love: the offspring that can
never be (the fantasy object). In </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Marriage of the Sea Parade</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
a basket of swaddled dolls were loaded onto the boat following the
embarkation of the sacrificial brides. </span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="color: black; font-size: small;"><span style="font-family: Calibri, sans-serif;"><span style="font-weight: normal;">The
film element of </span></span></span><span style="color: black; font-size: small;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Resurrection of the Sea Brides</span></i></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
draws upon both Surrealism and Gothic Horror, yet has an oddly
universal cinematic pathos. The reliance on gesture and facial
expressions produces emotionally charged images, which land both as a
series of cinematic clichés and deeply moving film stills. These
images resonate like </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">camera
obscura</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
projections from the minds eye; placing the viewer in the position of
the seer who channels some kind of universal subconscious. For the
purposes of dramatic structure, the seers on stage are the ones
producing these images in mediation of the unquiet psychic portion of
the deceased subject. However, for the purposes of the tableau, it is
the audience who produce these representations. Indeed, as Roland
Barthes also underlines, the classical notion of discourse is 'to
paint a picture one has in mind'. In this sense, Sinclair's use of
film to represent this projection is highly pertinent. </span></span></span></span></span>
</div>
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<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">For
Burgin, film images are not remembered
sequentially but as fragments. Likewise, Barthes (1985), suggests that the totalising
immediacy of meaning in film images, demands them to be burdened with
a kind of catharsis – a summation of human folly and tragedy –
through the facial 'expression of the deepest pathos' encapsulating
past, present and future in a 'pregnant moment'. Thus a cinematic
image can be appropriated by the audience: a fragment of
indescribable human meaning to be carried away from the cinema by the
viewer</span></span></span></span></span><span style="font-size: small;"><sup><span style="color: black;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=1410976031480268962#sdfootnote1sym" name="sdfootnote1anc"><sup>1</sup></a></span></span></span></span></span></sup><span style="color: black;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
This kind of image, as Burgin (1986) emphasises, what Barthes later
describes as 'a meaning which will not be pinned down by words... an
'obtuse' meaning... [or] the punctum'. A simple example is when we
view footage of soldiers at rest or play within a war zone – the
image is pregnant with the soldiers' child-like youth (the past), the
absence of the situated opposite of rest / play in this scenario
(fighting / action / destruction) and ultimately our ironic awareness
of the dramatic (historical) consequences of such scenes. The film
element of </span></span></span></span></span><span style="color: black;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Resurrection</span></i></span></span></span><span style="color: black;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
ends in a sensual orgy of 'pregnant moments', giving birth to what
Sinclair describes as “a dramatic cacophony of cinematic clichés
coming together in a crescendo”.</span></span></span></span></span></span></div>
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<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="font-style: normal; line-height: 150%; margin-bottom: 0cm; text-decoration: none;">
<span style="color: black; font-size: small;"><span style="font-family: Calibri, sans-serif;"><b>The
performance</b></span></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
performance elements of </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Resurrection</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
follow in the tradition of </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">tableaux
vivant</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
Each highly-staged tableau functions with relatively little action.
The performers move slowly like animatronic dummies and arrange
themselves into living pictures, with a choreography that focuses on
micro-gestures and posture. The action and Victorian drawing room
setting is framed with a sharp edge by the stage, or </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">what
Barthes (1985) describes as</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
'that line which intersects the optic beam'. Everything within that
frame is precise and focused, and that which is outside blurs into
ambiguity and becomes illusive and transitory in its meaning. In this
sense, the moments in the performance where the resurrected brides
step in or out of the frame render </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">all
gesture</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
impotent. Thereby, the performance moves from the emergent and
magical, to the </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">phatic</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
and pedestrian; from eerie transformative suspense to the quotidian
mundane and the boredom of ceremonies. Ultimately, despite its
properties as a transitory space, th</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">e</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">liminal</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
realm </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">of
the performance </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">does
not function in the aisles of the theatre, which much like wedding
days themselves, serve to nullify all potentiality and ungendered
meaning. The moment of resurrection in which the mother is told to
“remember and they will come” does however operate within the
same magical field as the stage tableau. It does this by the use of
lighting and the architecture of the venue, to frame a new </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">tableau</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
which operates somewhere between imagination and reality. Those
glimpsing the brides (covered in a residue of algae and vert-de-gris
and bathed in a spectral light) as they emerge </span></span></span></span></span><span style="font-family: Calibri, sans-serif; font-size: small;">
from the woods at the rear of Shelley Manor</span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
do not see the whole image because </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">is
obscured by the architecture, which</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
frame</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">s</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
tableau </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">in
an disjointed way. Instead the spectator views the tableau as</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
a </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">incomplete</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">form:
fragmented and partly produced from memories of horror films and our
earliest and most primal fears. Sinclair's inspiration for the scene
was drawn from a rich pallet of historical, biblical, cinematic and
literary sources. The most notable reference, is to maidens' funeral
parades of the 18th and 19th Century. When a girl died a virgin, she
was seen as being unable to take the rite-of-passage into womanhood.
Therefore, she was venerated as a </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">corpse
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">bride'</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
in a ceremony which bore a strong resemblance to a wedding and was a
means by which the deceased could posthumously 'marry' Christ. Part
of this ceremony involved a parade of fellow </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">virgins</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
dressed in white and wearing 'maidens garlands', which were later
placed on the coffin, and were sometimes left on ongoing display
within the church. </span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 150%;">
<span style="font-size: small;"><br /></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
mise-en-scene (colour, lighting, set, props)</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">of
Sinclair's tableaux are reminiscent of Catholic church décor and
creepy historical reconstructions, like those seen in National Trust
castles and country houses. Everything has a sort of musty kitsch,
including the rows of fake plastic tea lights on the altar, which
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">gave</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
the appearance of the sort of automated prayer box one might see in
an over-subscribed urban church in </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Southern
France, </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Spain
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">or
Italy</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
The slow, jerky movements of the players, together with the low, yet
awkwardly harsh lighting and brilliantly designed stereophonic
soundscapes, give the stage performances a strange detachment and the
feel of museum tableaux. The sound design, produced by Bournemouth's
</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">hauntological</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
music duo Language, Timothy!, adds to this comparison. A ticking
grandfather clock sound effect</span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;">
</span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">aides
the fake-realism of the drawing room set, and disembodied voices
emerge from speakers, distinctly separating them from the figures to
whom they are supposed to belong. </span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGyFjJACxBkGCBWxY8yHBHvDr5nn6wW-ww3zuRwrHEUdeEm3hO1WZGkgX_1sgxxSx0v0jX7Nl6rpNjCs_a-_6m8XL4GUY1oddmRANCpqf-EuEmA6XqZO1lE4o22-RGzbMj43CMVTqPy6E/s1600/10291040_992625664096954_1755828344284512109_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGyFjJACxBkGCBWxY8yHBHvDr5nn6wW-ww3zuRwrHEUdeEm3hO1WZGkgX_1sgxxSx0v0jX7Nl6rpNjCs_a-_6m8XL4GUY1oddmRANCpqf-EuEmA6XqZO1lE4o22-RGzbMj43CMVTqPy6E/s1600/10291040_992625664096954_1755828344284512109_n.jpg" height="474" width="640" /></a></span></div>
<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0cm;">
<br />
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">The
Resurrection of the Sea Brides</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
is undoubtedly a critique of the subordination of women in
patriarchal societies. However, it is also a celebration of the
feminine as a semiotic form. Like much of Sinclair's work this piece
captures the dark performative forms of the carnival. It takes the
dark, emergent, irrational modes of expression suppressed by the
patriarchal structures of society – which historically have
included the church and the state but more recently are led by
consumer capitalism – and uses them to abduct dominant systems of
representation, through the </span></span></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><i><span style="font-weight: normal;">carnivalesque</span></i></span></span></span><span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
arts of subterfuge, mutability, disguise and most of all parody. </span></span></span></span></span><br />
<br />
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">____________________________________________________________</span></span></span></span></span><br />
<span style="color: black; font-size: small;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span></span>
</div>
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<span style="font-size: x-small;"><a class="sdfootnotesym" href="https://www.blogger.com/blogger.g?blogID=1410976031480268962#sdfootnote1anc" name="sdfootnote1sym">1</a><span style="color: #980000;"><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span><span style="color: black;"><span style="text-decoration: none;"><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
stills we take away with us from the cinema, as memories, are
fragments that contain within them: all that is absent from them;
they become what Burgin (2004), drawing upon the work of
poststructuralist theorist Derrida, refers to in his book The
Remembered Film, as the 'sequence-image'. This kind of image becomes
a synchronic representation of the totality of all the images: i)
the viewer has 'already read, already seen', ii) from the film from
which the image was appropriated, iii) from films seen in the past,
iv) from autobiographical events.</span></span></span></span></span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-78819607320019791802014-10-16T14:05:00.000-07:002014-10-16T14:07:29.992-07:00FROUTE: a psychogeographic art project<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvN9vYI9DEYbJFWP_xPDimPsZ14DohUX0a2I1AiaDMcaDFyQU-rl-y60qtno2R3o-vV-ttAt6cYKMM4halaW4bVRNK320vhsyxsCCkhkc7H-lrzrOKNRYd1CUJ-eSrPjeWM8txRVnksQU/s1600/1043921_508282162579050_1623745150_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvN9vYI9DEYbJFWP_xPDimPsZ14DohUX0a2I1AiaDMcaDFyQU-rl-y60qtno2R3o-vV-ttAt6cYKMM4halaW4bVRNK320vhsyxsCCkhkc7H-lrzrOKNRYd1CUJ-eSrPjeWM8txRVnksQU/s1600/1043921_508282162579050_1623745150_n.jpg" height="382" width="640" /></a></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">FROUTE is an artist-led psychogeography project that I instigated in order to explore the relationship between arbitrary objects and geographic spaces. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
The project took place at SIX project space and the surrounding area,
over a six day period, from the 19th – 24th July. The starting point for
the project was the mundane subject matter of ‘fruit’ and the desire to
explore the relationship between objects, drawing and creative
engagement with local geographic spaces. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPElqaO6Gc1F2AK0iu1Y_Y71pUbuShElHqg5JTL-UodkjYp5p7TIHPneSv8U6gdn_v6tgkdLh4IW7W-_fKW6369GstqEGq3XEHa2qNP1kl4azfA6OR9NGh53tjVsih4CrW8BDEKqMcsf0/s1600/10155492_744587988948465_4418658334513068262_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPElqaO6Gc1F2AK0iu1Y_Y71pUbuShElHqg5JTL-UodkjYp5p7TIHPneSv8U6gdn_v6tgkdLh4IW7W-_fKW6369GstqEGq3XEHa2qNP1kl4azfA6OR9NGh53tjVsih4CrW8BDEKqMcsf0/s1600/10155492_744587988948465_4418658334513068262_n.jpg" height="426" width="640" /></a></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> At first glance there appears to be little or no rel<span class="text_exposed_show">ationship
between fruit and geography, however the notion of gathering ‘fruit’
becomes an invitation to play. Indeed, this desire to find objects to
play with links back to childhood. Children do not use objects purely as
commoditised anchors for identity but instead imbue them of a totemic
significance; fetishizing them and inviting them into their
psycho-spatial worlds.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">
David Crouch (1998) references a project by the conceptual artist
Stephen Willats (1982), to illustrate the potency of objects as symbols
of belonging in space. Willats interviewed children from a northwest
London tower block who used a piece of wasteland to play on and what he
discovered about their activities informs our understanding of the way
children use objects to help them dwell in spaces:</span></span></div>
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<br /></div>
<blockquote class="tr_bq">
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> They take old
prams, a stool, clothes, fragments of identity from ‘home’ that can be
used to imprint identity in a place they feel is their own; making their
own memories. They leave these artefacts at the site, to return to
later, to build and inform their practice and meaning (Crouch, 1998:
168). </span></span></div>
</blockquote>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"></span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">This notion of objects as the linchpins of ‘dwelling’ then
becomes the starting point of a project which uses play, involving
objects as a means of occupying the urban spaces of Boscombe to help
foster ‘sense of ownership’. Each artist began the project by
entering the project space and picking out a coloured smiley face at
random from the ‘colourbox’. The colour chosen then influenced the
nature of ‘fruit’ sought in and around the Boscombe area. Artists were
free to interpret the concept as literally or as freely as they liked
and used the ideas of journeying to gather ‘fruit’ as a means of
accumulating objects and engaging with and documenting their
interactions with spaces. The project culminated in the artists
interacting with each other’s contributions to produce an evolving
installation. </span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-73285527701005745932014-10-16T13:05:00.000-07:002014-10-16T13:27:25.145-07:00COLOUR: a collective drawing project at SIX Project Space<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh47og_1biU8uuKEfmGOag2jucSUlH4qbBG25RoEnY1GSuxHQWEE7bmAB8zZYK06lXGCFAB6TNy9QlhrNMNXM55s5YmIH0bG9P9IuFzy01a4k5V-4a6e_Outn9b9Pn7QPXQZ5k1iWN8vrk/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh47og_1biU8uuKEfmGOag2jucSUlH4qbBG25RoEnY1GSuxHQWEE7bmAB8zZYK06lXGCFAB6TNy9QlhrNMNXM55s5YmIH0bG9P9IuFzy01a4k5V-4a6e_Outn9b9Pn7QPXQZ5k1iWN8vrk/s1600/1.jpg" /></a></div>
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<span style="font-family: Arial, sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The
COLOUR project (2013) started almost by accident when artist and curator Theresa
Bruno was unable to attend a drawing workshop that Sarah Grace Harris
was running. As an artist whose work is primarily concerned with
found phenomenon, Theresa was particularly fascinated by the focus of
the workshop, which was on drawing a collection of green objects
using the same or similar coloured media. From then on Harris and
Bruno bonded over a mutual love of drawing and more importantly,
colour. And, after an initial drawing session, again centred on green
objects, both artists noticed similarities between their divergent
studio practices and saw the potential for fruitful collaboration. </span></span>
</div>
<div align="JUSTIFY" lang="en-GB" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div align="JUSTIFY" lang="en-GB" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Harris
and Bruno both examine the material world and explore our
relationship with the objective world of things to create a new level
of perceptual awareness of the subject / object relationship; for the
self and for others respectively. </span></span></div>
<div align="JUSTIFY" lang="en-GB" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div align="JUSTIFY" lang="en-GB" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB">In
this direction, their collaborative exploration of colour questions
how we engage with</span></span><span style="font-size: small;"><span lang="en-GB">,
make sense of and categorise the material world. The project helped
elicit a heightened awareness of the subjective nature of colour
perception, as they and others began to argue about what hue or
saturation might constitute a particular colour. Likewise, the
process of categorisation also highlights both the arbitrary nature
of signification and the slippage between the signifier and the
signified; concepts Bruno explores in "Fruit Bowl Painting" (2010). The piece
uses a</span></span><span style="font-size: small;"><span style="background: none repeat scroll 0% 0% rgb(255, 255, 255);">lphabetically
appropriated paint colour samples named after fruit to create a
clinical colour chart and in doing so also brings to account the
cynical way in which consumption co-opts domestic discourse as a
means of commoditizing the feminine and in turn pacifying the voice
of women within patriarchal society.</span></span></span></div>
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</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlmHDmP0fFFZrEyUM-xqtX9gnNAsTGtFDwq_UxP1cZwLbuODt3n7rmA0u331hZmPROybDNp1CB5C9fDuIXmSGpMks4gJmyqtjASriATEphWLbgnH0MxGyzLd368W3u9q0m0_j9pBc_zo/s1600/FRUIT+BOWL+PAINTING+PAGE+low+res.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlmHDmP0fFFZrEyUM-xqtX9gnNAsTGtFDwq_UxP1cZwLbuODt3n7rmA0u331hZmPROybDNp1CB5C9fDuIXmSGpMks4gJmyqtjASriATEphWLbgnH0MxGyzLd368W3u9q0m0_j9pBc_zo/s1600/FRUIT+BOWL+PAINTING+PAGE+low+res.jpg" height="640" width="452" /></a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB">Colour
is something that has been much maligned throughout the
male-dominated history of art. It has been derided as surplus to
requirements and somewhat frivolous within the disciplines of drawing
and sculpture. Indeed, since the Reformation, colour has been seen as
degenerative and vulgar; an abortion of the classical ideals of
purity of form. Moreover, this Protestant aesthetic is at the root of
Modernism. During his early travels, the Swiss architect and design
theorist Le Corbusier rejected the colourful world of the Orient for
the monochromy of the Acropolis. Upon seeing the Parthenon, he
denounces the decoration and chromatic frivolity of the Orient, which
he suggests were founded 'in a narcotic haze', and instead
champions the rationality, purity and cleanliness of white, arguing
that it 'is time to crusade for whitewash and Diogenes' (1998: 315).</span></span></span></div>
<div align="JUSTIFY" lang="en-GB" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div align="JUSTIFY" lang="en-GB" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The
irony, of course, is that classical architecture and the marble
sculptures that adorn it, would have originally been painted in
vibrant colours. Likewise, Henry VIII went to such great lengths to
remove all traces of colour from the churches and cathedrals of this
country that we now forget the role colour played in connoting the
opulence and power of the church over the peasants of a diocese. And,
to this day, colour has little place in the British aesthetic
sensibility. On a purely anecdotal level, when we visit the catholic
churches of continental Europe, their contents and décor fall into
the debased aesthetic category we know as kitsch. </span></span>
</div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB">The
colour</span></span><span style="font-size: small;"><span lang="en-GB">s
used in Medieval and Renaissance clothing indicating status, and thus
the most valuable dyes like reds and purples were the preserve of the
</span></span><span style="font-size: small;"><span lang="en-GB">aristocracy
and of the church. Yet, like a Chinese whisper on the trade winds,
the semantics of colour in Western society have shifted from
masculine power to feminine disempowerment. For David Batchelor (2000),
colour has come to represent the irrational and the dangerous; its
image as 'feminine, oriental, cosmetic, infantile, vulgar',
proliferated endlessly (2000:71). </span></span></span>
</div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB">Throughout
the history of</span></span><span style="font-size: small;"><span lang="en-GB">
Modernist art, colour has become a cipher for 'otherness':
insanity (Van Gogh), </span></span><span style="font-size: small;"><span style="background: none repeat scroll 0% 0% rgb(255, 255, 255);">naivety</span></span><span style="font-size: small;"><span lang="en-GB">
(</span></span><span style="font-size: small;"><i><span style="font-style: normal;"><span style="background: none repeat scroll 0% 0% rgb(255, 255, 255);">Cézanne</span></span></i><span lang="en-GB">),
orientalism (Matisse), primitivism (Picasso). However, it is also
possible that this 'othering' of colour has been a way of
rehabilitating it as something substantive and not merely decorative.
As Batchelor suggests, colour simultaneously represents 'a lapse
into decadence and a recovery of innocence' (Ibid, 71).</span><span lang="en-GB">
Here colour becomes pure experience; that of a newborn child;
unmediated by the subjective self that is produced by language. </span></span></span>
</div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB">Further
to this</span></span><span style="font-size: small;"><span lang="en-GB">,
Batchelor highlights the 'inadequacy of words' in representing
colour, suggesting that 'we reach outside of language with the help
of a gesture. We point, sample and show rather than say'. And in
doing so 'we expose the limits of our words' (Ibid, 85). So colour
becomes that which will always be other to the unified subject as it
can neither be truly named nor owned. </span></span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB">Yet
</span></span><span style="font-size: small;"><span lang="en-GB">perhaps
it is colour’s intangible mysteriousness, which leads to its
marginalisation. Julia Kristeva (1982) makes the link between colour
and abjection. Likewise, Mikhail Bahktin opposes the unified,
self-contained form of classical sculpture with the grotesque body of
the Medieval peasant, in all its visceral brutality, baseness,
crudity, un-cleanliness and carnality. Colour’s "otherness"
gives it a "carnivalseque" power to undermine and challenge the
established symbolic order. Indeed, it plays an important role in the
Medieval carnival. The "fool king" or "king for a day" was
dressed in a harlequin mismatch of colours to symbolise chaos and
disorder – of social or symbolic order; of the mind? Further to
this, Batchelor, also suggests that bright colours bring to mind
court jesters and clowns and 'to be called colourful is to be
flattered and insulted at the same time' (Ibid, 67); a level of
ambivalence that is a prerequisite of the carnival. </span></span></span></div>
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</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span lang="en-GB">Looking
back on the COLOUR project, one of the things that stands out
as important </span></span><span style="font-size: small;"><span lang="en-GB">is
its use of domestic objects. Early on Harris and Bruno made the
decision to only use objects that they already had at home. This
again reinforces the notion of colour as both decorative and
feminine. However, in their choice of objects, Harris and Bruno have
highlighted one of the great tensions in art history: that
historically, the domestic space has been represented by men. This
also exposes a binary between masculine and feminine that is
reinforced by consumer discourse. While women nominally have
ownership of domestic space, it is men who have ownership of the
means of production. Here we see a duping of women into believing
that they are producing domestic space, when they are in fact merely
consuming it. The man as "bread winner" allows the women freedom to produce the domestic space; an act which becomes
nullified by its entwinement with masculine ownership: from the
designer to the husband who sanctions this wanton consumerism as a
means of satiating and pacifying the woman’s need for agency. What
Harris and Bruno do, however, is to rehabilitate ownership of the
domestic realm by taking these biographical items from their original
context and re-contextualising them as both familiar and alien. In
other words, by engaging with these objects in a heightened state of
aesthetic awareness, Harris and Bruno both reinforce their magical
power as personal fetish objects and imbue them with new mythologies
and meanings, which question that which we already know about them. </span></span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">In
this sense, this project re-familiarises us with the meaning of art:
that through aesthetic and intellectual enquiry, we are able to see
things afresh and to break with habitual ways of seeing and being.
Ultimately we can only learn about colour through engaging with it;
through focused creative play. Therefore, it is perhaps best to view
the work produced so far as the start of an ongoing journey rather
than the end of one. </span></span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-15253183050270351362014-10-14T23:46:00.000-07:002014-10-15T00:00:31.799-07:00The Grand Grotesque Parade: Carnivalesque & the British Seaside<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial,Helvetica,sans-serif;">The Grand Grotesque Parade, a live art performance by artist duo The Girls, was more than simply a historical re-enactment. The work was based
on a spectacular and lavish parade that took place as part of the 1910
Bournemouth Centenary celebrations; a festival that cost the Council a
total of £30,000. An absurdly large amount of money at the time that
illustrates not only the kind of revenue brought by wealthy visitors but
also the Council’s commitment to making Bournemouth one of Europe’s
most exclusive holiday resorts, rivalling the French Riviera. Whilst the
project does indeed illuminate a quirky, long forgotten footnote of the
town’s history, it is also a celebration of the strange nature of
popular seaside pleasures. </span>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /><br />
The British seaside resort and in particular Bournemouth, has
traditionally been associated with health, be it in the quiet
convalescence and sophisticated pleasures of the upper classes or in the
organised escapes from industrial pollution, urban squalor and
drunkenness started by Thomas Cook in the mid Nineteenth Century.
However, there has always been a flipside to the sobriety, which
represents a repressed aspect of Englishness that often manifests itself
in our national sense of humour. Encompassing black comedy, surrealism,
silliness, camp, double meanings, and a celebration of the downright
absurd; the alternative to being prim and proper, towing the line,
heeding social convention and the putting up with the humdrum of
everyday life is the carnival. Indeed, there is a direct lineage between
the traditions of the seaside resort and those of the medieval
carnival. The word ‘holiday’ or ‘holy day’ has its origins in the one
day festivals prescribed during the Christianisation of central Europe
in the Dark Ages as controlled outlets for the wyrd pre-Christian rites
of indigenous people. The carnival became a ritualised form of
transgression from both Christian values and the social norms and
conventions of the time. </span>
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The seaside embodies the pre-modern social formation of the
carnivalesque; the ritualised inversion of accepted norms, or what
Russian philosopher Mikhail Bakhtin describes as “life turned inside
out”. Though Bakhtin attributes the origins of the carnival to the
medieval festival known as the Feast of Fools, he contends that the term
can equally be applied to all aesthetic forms that disrupt the
boundaries of everyday existence. Central to this is the idea that
normal life is suspended during the carnival. In particular it subverts
hierarchical social structures and behaviours of deference, reverence,
piety, etiquette and other social norms and conventions. Indeed, many of
The Girls’ past works have explored the carnivalesque inversion of
normative cultural conventions, such as weddings, family portraiture,
garden parties, bathing and beauty pageants. The carnivalesque also
encompasses the blurring of vital binary divisions between rich and
poor, ugly and beautiful (through mask wearing), and powerful and meek -
through the ritual crowning of a ‘fool king’ or ‘king of the day’. The
carnival is a limbo or in-between state: an alter reality in which what
is considered to be good in society is momentarily killed off, later to
be re-born as the carnival king or queen is de-crowned thus returning
things to ‘normality’. </span>
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Another central concept of the carnivalesque is Bakhtin’s notion of
grotesque realism or the aesthetic of the carnival. Grotesque realism is
the stripping away of all social, cultural and moral gloss to both
reveal and amplify the material baseness of the human form. It is,
however, not simply an aesthetic of ugliness but one of truth; striving
to emphasise degradation, degeneration and disintegration is a material
celebration of the human animal in all its abject corporeal glory –
brutal, base, crude, dirty and carnal. Indeed, there is a long history
of artists who have used abjection to undermine the symbolic order of
society and to reveal some kind of existential truth beyond everyday
systems of meaning. Antonin Artaud’s ‘Theatre of Cruelty’, Hermann
Nitsch’s Actionist bloodbaths, Franco B’s self mutilation and Andreas
Serrano’s sacrilegious effigies were all attempts to reconcile subject
and object, human and world, and at the same time shatter the social and
cultural illusion of reality. The Girls have also explored the
threshold between acceptability and abjection, most notably in 'Corn
Fed' (2008). In this work the contorted female form takes the place of a
trussed chicken in a roasting tin, ready to be cooked and consumed.
This uncomfortable subject position is not only a direct challenge to
the male gaze as a consumer of the female form but also places the human
body in the position of meat. For Bakhtin, this debasing or degrading
of the human form is an essential feature of grotesque realism: "The
essential principle of grotesque realism is degradation, that is, the
lowering of all that is high, spiritual, ideal, abstract; it is a
transfer to the material level, to the sphere of earth and body in all
their indissoluble unity" (Bakhtin, 1965, 19-20). One artist whose work
best articulates this aesthetic is Paul McCarthy. The Californian artist
is best known for his visceral performance installations in which
grotesque figures appear menacingly, like horrific versions of
characters from Grimm’s fairy tales to enact bizarre rituals in dingy
storybook workshop settings. The addition of Ketchup, chocolate and
other food stuffs to substitute bodily secretions and excretions,
combined with harsh lighting and colours all add to the aura of
psychological disturbance and unease. Masks are a vital element in much
of McCarthy’s work as a means of erasing the reassuring features of
humanity from his performers. Likewise, The Girls have recently used
this devise in ‘Diamonds and Toads’ (2011). The performance installation
piece is based on the fairytale of two sisters, one of whom is given
the gift of producing jewels from her lips when she speaks in
recognition of her pure nature, and the other, the curse of emanating
forth repugnant items such as toads, snakes and worms as punishment for
her base character. The Girls, however, use masks to generate ambiguity;
stirring up doubt and clouding the crystal clear waters of this
moralistic tale. Moreover, their costumes and props add earthy weight to
the human form, bringing this floaty fable of black and white morality
down to earth with an obstreperous thud. </span>
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Masks, costumes and makeup are vital elements within The Girls’ work.
Indeed, it is carnivalesque concept of the ‘alter’ or the transformation
of identity that perhaps relates most strongly to their canon. Their
highly staged self-portraiture, like that of Cindy Sherman, draws
heavily on the notion of alters; that is, false or masked identities. In
'William and Harry' (1997), The Girls transgress both gender and class
to embody the two young princes, and in doing so unlock something of
their humanity. </span>
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The notion of parody is also central to The Girls’ work. And parody,
also has its roots in the carnival. In the Middle Ages, the mockery of
powerful or sacred figures, texts and rituals was sanctioned during
feasts under the legitimised license of laughter, ‘parodia sacra’. More
than simply venting individual frustration and diffusing dissention,
parody enabled the celebration of artifice essential to a harmonious
social world – it was a license to be silly and to see others as such.
Rather than hate your governing men, laws and rites, you could simply
parody them for one day with no recourse. In dystopias such as that of
George Orwell’s “1984”, such mockery is forbidden, therefore throwing
the social world out of balance and generating a climate of fear and
loathing. </span></div>
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The seaside holiday is structured around a built-in tolerance of minor
transgressions, like unhealthy eating (fish and chips), gambling (arcade
games), cross-dressing (end of pier pantomimes), impersonating figures
of authority (stag and hen nights), and sensory excess (fairground
rides). Indeed, the environment of the seaside resort facilitates a kind
of alter reality where social norms are inverted and the pursuit of
pleasure enables not only the avoidance of pain but is also a means of
eliminating the sense of boredom, pre-determination and fate experienced
in everyday life. Stag and Hen nights are an example of a carnivalesque
happening - an organised pseudo-event that allows the bride or groom to
‘let their hair down’ for one night only. During a stag or hen ‘do’
certain types of transgressive behaviours are not only permitted but
actively encouraged. Cross-dressing, drinking to excess, kissing a
member of the same sex or even, dare say it, sleeping with someone met
on the night, are all permissible in an unspoken way for the prospective
bride or groom; who occupies the liminal or in-between state between
youth and adulthood, singledom and marriage. Even stripping the groom
naked and tying him to a lamp post, which under normal circumstances
would be viewed as a criminal activity, becomes a permitted
transgression, which police will turn a blind eye to. In a sense, stags
and hens are not responsible for their actions; they are simply enacting
a socially constructed performance in a twilight limbo land where
anything goes so long as it has gone before. They are the objects of a
collective social dream that cannot exist without the glow of the
mimetic subjectivity that they bath in – the universal carnival of
everyday ethics. Hens parading their train through a moment of pink
lycra magic, become their own carnival float; a reassurance to the world
that nothing too sinister is happening to society. </span></div>
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The carnivalesque is also manifest in many forms of seaside
entertainment. For example, an arcade game momentarily gives its players
a unique status, defined by both their significance in beginning the
game and entering its world, and insignificance once they have stepped
out of that domain. The arcade game forces its player to grapple with
the primal constructs of superstition, catharsis, death and renewal. In
the carnivalesque world of the seaside resort, participation offers the
opportunity to buck against modernity’s sterilisation of nature and
return to a primal state of consciousness. Indeed, the carnivalesque
concept of crowning and de-crowning mirrors the experience of winning
and losing in an arcade game. The concepts of crowning/de-crowning,
winning/losing relate that of death/re-birth, a construct that can be
found in many religions including paganism; the notion that everything
is cyclical and seasonal. </span>
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Punch and Judy shows illustrate perfectly the narrative of the carnival
or ‘life turned inside out’. The story in its traditional form turns
inside-out that which we consider to be right and wrong, inverting
social norms and venerating anti-social behaviour. Throughout each
performance Mr. Punch averts punishment for mistreating his wife and
child by bludgeoning various characters of authority to death with his
‘slapstick’. Indeed, earlier versions of the puppet play involve the
appearance of a hang man, whom upon attempting to enforce justice upon
Mr. Punch, is tricked into putting his own head in the noose. The show
also originally contained the macabre characters of a ghost, the grim
reaper and the Devil; all of whom were defeated in Punch’s battle for
total impunity. Indeed it is no coincidence that The Girls chose to
portray themselves as Punch and Judy in a commission for Loud Tate 2010
(in response to Tate Britain’s 'Rude Britannia' exhibition (2010), for
this grotesque duo are the archetypal figureheads of carnivalesque
transformation. </span>
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Transformation is a key feature of seaside entertainments, whether of
appearance, by means of dressing up or standing behind a themed cut out
and posing for a seaside portrait, or state, by going on a fairground
ride to thrill or scare you into a condition of sublime terror. Indeed,
the perceived pleasure of fairground rides stems from the eighteenth
century notion of the sublime; the same aesthetic fad that drove artists
and early tourists to wander the craggy passes of the Swiss Alps in
search of breathtaking views that would induce feelings of terror. Again
this relates to the notion of the threshold or in-between state, as the
sublime is a subjective moment of looking toward or perceiving a point
of mortal transition from a safe distance. In the case of a fairground
ride, as we are safely suspended high above the ground, what we perceive
is the potential of our own mortality. In a sense we are suspended
between life and death. Thus, upon exiting the ride we are reborn; so
the fairground ride serves as catharsis and a release from the mundanely
of everyday life. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><br />
One of the most interesting forms of seaside entertainment from the
perspective of transformation is the hall of mirrors. The mirror image
is predominantly what we think of as ourselves and therefore any
deformation of this affects how we perceive the self. The French
philosopher Jacques Lacan argues that the stage of development in which
children recognise themselves in the mirror is pivotal to the creation
of the ego. He suggests that during the ‘mirror stage’ there is a
mismatch between a child’s physiological unity and the wholeness that it
perceives in the mirror. In other words, whilst a child may be clumsy
and uncoordinated in real life, in the mirror they are recognised as a
whole, complete ‘me’. The ego is produced via language in the symbolic
order; the mirror image becomes not only a symbol for the unified
subject but also a signifier for the self; a signifier for ‘you-ness’.
In life drawing classes at school, I remember being told to draw what
you see, not what you think you see. And indeed one of the key
challenges in art is in overcoming the desire to represent the obvious;
to create a mere signifier for something. A tree for example is not
simply a green cloud-shape on top of a brown rectangle; it is a complex
physical object, much of which is invisible behind its intricate surface
or below ground. What the hall of mirrors does, is allows us to see the
world as it is by showing us something different from that which we
expect to see. In a world obsessed with body image and indeed bodily
perfection, it is refreshing for us to be confronted with a self image
so alien and out of proportion that our real life bum’s don’t really
‘look big in this’ anymore. </span>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /><br />
The problem with the carnivalesque is that in today’s world of moral
uncertainty it is uncomfortable. We no longer live in a world of moral
absolutes but instead one of carnivalesque ambiguity with endless
opportunities for transgression: excessive consumerism and even cosmetic
surgery to enable our own transformations and mask our identities;
ever-more graphic and distasteful horror movies to push the boundaries
of moral and aesthetic acceptability; computer games in which we can
kill without consequence - rebellion without cause. However, The Girls
have always sort out the uncomfortable, the un-categoriseable, the
un-definable and the in-between state between what we know and what we
don’t. And, if the purpose of art is to make you see the world in a
different way, then there is no more different a way of seeing than
theirs. The Girls' work is the very embodiment of the carnivalesque
because it reflects a carnivalesque society. Popular seaside pleasures
are not quaint, archaic, marginalised and restricted to the coast but
are all around us. One hundred years ago the Grand Grotesque Parade
represented a strangely upper class form of exuberance and excess.
However, the democratisation of luxury in the twenty-first century has
meant that we all seemingly get the opportunity to take part in today’s
grotesque revelry. Moreover, we are all equal, or at least appear equal,
in the everyday carnival of today’s Britain. The Grand Grotesque Parade
therefore, has a peculiar resonance, as we question the value and very
meaning of carnivalesque transgression in today’s society. </span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-42618363645657161932014-10-06T12:36:00.000-07:002014-10-16T13:25:59.244-07:00Punch and Judy Show (edge of representation) at LUNG, Bournemouth - 01/10/2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;">Photographs by Joseph Johnston<i><br /><br />Punch
and Judy Show </i><i>(edge
of representation)</i>
is a
new time-based
installation piece I
completed for the Bournemouth Emerging Arts Fringe as part of this
years Arts by the Sea Festival. The work, which was shown at LUNG
gallery on the 1<sup>st</sup>
October, <span lang="en">explores
the conflict between systems of ordering and control, </span><span lang="en">
which Henri Lefebvre describes</span><span lang="en">
</span><span lang="en">as
</span><span lang="en">‘representations
of space’, and visual representations of Bournemouth as
‘representational spaces’</span>.
'Representations
of space'
are described as the maps, plans and strategies of urban planners and
social engineers for controlling the way spaces are used and the
people who use them, while ‘representational spaces’ are partly
imagined, exist in the realm of the symbolic, and can represent of
our hopes, dreams and identities. <span lang="en">The
work also seeks to embody the paradox of commercialised leisure: that
however hard we try to escape the constraints of society </span><span lang="en">and
</span><span lang="en">self,
and predictability of everyday life, our attempts will always be
thwarted by the organising systems and taken-for-granted
</span><span lang="en"><i>typifications,</i></span><span lang="en">
</span><span lang="en">which
</span><span lang="en">structure
</span><span lang="en">that
which Zygmunt Bauman terms </span><span lang="en">our
'life-world'; leaving us feeling disappointed and trapped. Moreover,
the sense of subjective freedom we attain through</span><span lang="en">
</span><span lang="en">everyday
escape attempts, </span><span lang="en">encompassing
our ability to re-imagine and transform our surroundings, </span><span lang="en">are
also under threat from the tendancy to make our visual and discursive
representations fall in line with a concensus or </span><span lang="en">that
which sociologist Erving Goffman refers to as </span><span lang="en">‘paramount
reality</span><span lang="en">'</span><span lang="en">.
</span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;">The
piece is centred on two automated 35mm slide carousel projectors, set
slightly out of synch to suggest a clash or conflict of ideologies.
One carousel contains images of systems of ordering and control –
diversionary entertainments, maps, signs and information boards, CCTV
cameras and penalty warnings – and on the other houses visual
representations of Bournemouth as a <i>heterotopia</i>
of <i>touristic</i>
possibilities – moments of heightened <i>aestheticisation</i>
and improvised narratives in the visual vernacular of Continental
tourist travel. The first set of images (utilitarian), are taken
using Fuji film and have a slightly cold, detached feel, and the
second (romantic) are shot in Kodak to give them a nostalgic glow. <span lang="en">
</span><span lang="en">The
de-synchonisation of the carousels leads to a new set of image
combinations after each full rotation. This lends the work the element of chance as the sequence works </span><span lang="en">its
way </span><span lang="en">through
all potential variables of image juxtaposition. </span><span style="font-size: small;"><span lang="en">This is a direct reference to the carnivaleque strategy of chance as</span></span><span lang="en"><span style="font-size: small;"> means of
eliminating the sense of boredom, pre-determination and fate experienced
in everyday life.</span> Th</span><span lang="en">e</span><span lang="en">
use of outmoded </span><span lang="en">analog
</span><span lang="en">equipment
</span><span lang="en">with</span><span lang="en">
its mechanical action, </span><span lang="en">together
with these chance juxtapositions, also </span><span lang="en">suggest
both the fragility of life and the vulnerability of the meaning in
the autobiographical images we store in </span><span lang="en">the
image magazines in </span><span lang="en">our
minds (our own machines of representation).<span style="font-size: small;"> </span></span><span lang="en">These meanings are also
enriched by the use of screens made from razor shells: the discarded
husks of lives once lived. </span><span lang="en">The
work is backed by a specially commissioned soundtrack, </span>made
in collaboration with Bournemouth
<i>hauntological </i><span style="font-style: normal;">music
duo </span>Language
Timothy! This
uses stereophonic
sound design to produce a sense of location: both inducing
feelings of disorientation and augmenting the dualistic visual
onslaught with a immersive sound-scape to overwhelm the senses. The
soundtrack is
comprised of field
recordings from a local
amusement arcade, together with a range of samples, including a 1950s
instrumental version of Stranger in Paradise; a title which is
perhaps the best metaphor for the tourist
paradox. </span></div>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-66188787026608666632014-08-05T13:08:00.000-07:002014-10-16T13:09:36.485-07:00Thoughts on painting and the mundane<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><i><span style="font-family: Calibri, sans-serif;"> We Found Place in a Hopeless Love</span></i><br /><span style="font-family: Calibri, sans-serif;">2013, </span><span style="font-family: Calibri, sans-serif;"><span style="font-family: Calibri, sans-serif;">acrylic on canvas, </span>51x41cm</span></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: small;">The
problem with my paintings is that they appear to celebrate the very
thing that they are critiquing. There is an attempt within them to
explore the ambiguities, ambivalences and paradoxes of tourism and
yet they do this from within a picturesque and commercial form. The
source material is often in the form of photographs of places of
conspicuous consumption. These are then cropped to isolate and
emphasise details which explore particular concepts or
sensibilities. In this sense they are using an aesthetic form to
emphasise ontological perspectives. This is problematic within the
institutional framework of fine art because it does not represent a
paradigm shift. And while postmodernity appeared to put an end to the
avant garde, in reality, it operated within an entirely modernist
model. Likewise, subversive art movements like Dada and Situationism
were formed in response to the art canon and the avant garde, and
thus had no choice but to avoid radical modernist agendas and the
political, and retreat to the mundane. Pop Art was perhaps the first
truly postmodern art movement as it operated not in response but in
sympathy to that which it was critiquing. It revelled in artifice,
the banal and the everyday. Pop Art was not subversive in the
conventional sense. To subvert something is to acknowledge its
existence, to recognise it as a problem. Pop Art saw no problem with
the relationship between art and commerce, objects and capital. </span>
</div>
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</span>
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<span style="font-family: Calibri, sans-serif; font-size: small;">Pop
Art epitomises the sensibility of camp or that which revels in
artifice and illusion. Sontag (1964) makes the point that camp is
apolitical and anti-ideological. It is a sensibility that operates
outside the system. It is fragile, illusive, mundane, and contingent
and vulnerable in its meanings. For a 'sensibility which can be
crammed into the mold of a system, or handled with the rough tools of
proof, is no longer a sensibility at all' (Sontag, 1964). In this
sense, camp is what Michel de Certeau (1991) terms a 'tactic': a
mundane practice by which we can fly under the radar of ideological
oppression. Camp is a Foucauldian semiotic 'event' (Badiou, 1988): an
emergent form which has the power to subvert the established symbolic
order and to generate a transfigured and luminescent 'Being'
(Heidegger, 1964). </span>
</div>
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</span>
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<span style="font-family: Calibri, sans-serif; font-size: small;">Returning
to my paintings, the thing that stands out is that they are pop,
without being camp. They have an mute seriousness, denoting </span><span style="font-family: Calibri, sans-serif; font-size: small;">feelings
like </span><span style="font-family: Calibri, sans-serif; font-size: small;">alienation,
detachment</span><span style="font-family: Calibri, sans-serif; font-size: small;">,
melancholy</span><span style="font-family: Calibri, sans-serif; font-size: small;">
and loss but they do this in way that is not overt or laid on thick.
In fact, the images avoid weight of meaning as much as they do weight
of paint. There is little gesture in the rendering of these feelings.
They rely entirely on the source image for meaning and yet amplify in
a way that is so subtle as to remain unnoticed by the impartial gaze.
So if they are not camp or subversive, then what are they? If they
are simply commercial art objects, then why is such care taken in
maintaining their illusive meaning? </span>
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</span>
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<span style="font-family: Calibri, sans-serif; font-size: small;">One
answer is in the term care. The paintings are material manifestions
of ontological practices of dwelling – in place, in images or
representaions and in the work. For Heidegger, dwelling in objects is
about concern or 'taking care' (Heidegger, 1964). This involves
investment in both the images and the process of painting. Moreover,
I also strive to embody </span><span style="font-size: small;"><span style="font-family: Calibri, sans-serif;">phenomenological
or ‘anti-aesthetic’ approaches to understanding visual
representation in my paintings. </span></span><span style="font-family: Calibri, sans-serif; font-size: small;">Developing
the notion of the </span><span style="font-family: Calibri, sans-serif; font-size: small;"><i>liminal</i></span><span style="font-family: Calibri, sans-serif; font-size: small;">
tourist moment (Hom Cary, 2004) I have tried to represent this in the
following diagram as an ‘experiential learning cycle’ (Kolb,
1984) in relation to my own art practice:</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: small;">Another
answer, is that there is a deliberate attempt to be commercial in
these images and in the domestic scale of my paintings in order to
communicate with the intended audience. In other words, they use an
aesthetic form in order to open up a dialogue with that audience. The
artist-led projects that I have generated as part of my research have
intentionally exposed and explored the tension between artist ego and
social reality. Within academia and the art market, there fundamental
need to perpetuate the myth of modernism and the avant garde. Indeed,
it is this process which legitimises the art world. This has
perpetuated a particular kind of gaze, which looks for the
authentically inauthentic: postmodern forms that fake the fact that
they are faking it. These forms appear to have a parodic sensibility
not dissimilar to camp but when interrogated always appear as an
authentic drive towards difference when they are in fact simply
producing allegory or text doubling another. A good example of this
Damien Hirst's </span><span style="font-family: Calibri, sans-serif; font-size: small;"><i>For
the Love of God</i></span><span style="font-family: Calibri, sans-serif; font-size: small;">
(2007). Here the notion of authenticity masks the allegorical
banality of the object. We understand it through the relationship
between the cliché of the skull as a symbol of mortality and
diamonds doubling for eternity or the quest for immortality through
our relationship with capital, status and power. These are simple
metaphors masquerading as fundamental and authentic human meaning.
Death in art is like pressing the atomic button, it is going nuclear!
Would </span><span style="font-size: small;"><i><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;">Géricault's</span></span></i><span style="font-family: Calibri, sans-serif;"><span style="font-style: normal;">
</span></span><span style="font-family: Calibri, sans-serif;"><i>The
Raft of the Medusa</i></span><span style="font-family: Calibri, sans-serif;">
(1818-1819) have the same impact if the figures were casually fishing
over the side?</span><span style="font-family: Calibri, sans-serif;"><span style="font-weight: normal;">
Likewise, would Warhol's car crash series elicit the sense of unease
and voyeuristic ambivalence in the viewer if the people in the images
were exchanging insurance details? </span></span></span>
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<span style="font-family: Calibri, sans-serif; font-size: small;">This
argument may appear glib, however the point here is the most
difficult art is no longer that of the avant garde but in forms which
insinuate themselves upon that which has gone before. The picturesque
is particularly problematic because it is the form of commercial
representation and amateur art; both of which borrow their visual
vernacular from redundant art movements. The visual traditions of
landscape painting served either to emphasise ownership, wealth and
power or the desire to retrieve some fictive authentic past. Only
perhaps do Turner's depictions of the romantic sublime reject these
motivations. Indeed, what makes much of Turner's work so powerful is
he does this within the institutional framework and vernacular of the
form. In other words, he is not rejecting what has gone before but
inverting it from within. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><span style="font-weight: normal;">To
make work that uses the vernacular of the avant guard to comment on
the mundane may appear brave but to explore the mundane from within a
mundane visual form is, perhaps, more interesting. Lichenstein is not simply
making comic books but is reproducing the world with all its mute
pathos. He is faking it without faking the fact that he was faking
it. Like a Shangri-Las record, he uses mutability and camp to
emphasise a different kind of authenticity: a relational authenticity
of something which speaks to the everyday audience and is part of the
mundane world. They are the shared images of Instagram, the derided
“arty” tactics by which we communcate mundane meanings and
values, they are not high art forms but instead a situated art
practice. This involves the everyday engagement with image making, by
which we restore Being through dwelling. My </span><span style="font-weight: normal;">paintings</span><span style="font-weight: normal;">
belong to the everyday world, they come from and return to that
world. In this sense my paints produce a relational aesthetics
(Bourriaud, 2002). Moreover, the context for the work is the context
of the work: a world connecting the everyday to tourism. A world that
exists in representation with all its ambiguities, ambivalences and
paradoxes in tact. </span></span>
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-14506643735632120482014-07-29T13:17:00.000-07:002014-07-29T13:30:21.276-07:00New artist statement<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3g3fYqJbi0M5Y2japh1-EnVq1qK00soMuGSBdfDEdXA_BABV0ygmqIuvX0N3CKaXkPvQ2q5_nTWCHO84JZDjkpoMeyjEscMRcw_OzJJcGUQDXRXHwd2FncxdlX1W14C1LA22FI1KJU9M/s1600/Representation+IV.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3g3fYqJbi0M5Y2japh1-EnVq1qK00soMuGSBdfDEdXA_BABV0ygmqIuvX0N3CKaXkPvQ2q5_nTWCHO84JZDjkpoMeyjEscMRcw_OzJJcGUQDXRXHwd2FncxdlX1W14C1LA22FI1KJU9M/s1600/Representation+IV.JPG" height="320" width="319" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><i>Representation IV: Mike's holiday snap, Kos 2012</i> </span></span></div>
<div style="margin-bottom: 0cm; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">2013, acrylic on canvas, 60x60cm</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">My
work focuses on moments of </span></span><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><i>liminality</i></span></span><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">
in tourist travel and </span></span><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><i>touristic</i></span></span><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">
spaces, and the relationship between images, memory and experience in
our engagement with such spaces. My practice is centred on the
appropriation of photographic images from archival sources including
social media websites, amateur photography collections, film stocks
and my own 'holiday snaps'. These images are then 'reclaimed' through
painting and time-based media, in order to explore received meanings
and to generate new ones, through the process of
re-contextualisation. My images strive for a voyeuristic detachment,
which highlights the gap between expectation and reality in the
production of the tourist objects and their representations. These
images are triggers for memory and imagination, patched together from
the totality of that which the viewer has previously seen. </span></span>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">The
images in my work are those of a daydreamer. The child who gazes out
of the window into the middle distance, is neither inside of the
classroom nor outside but somewhere else; a place which is both
mediated by the space, and at the same time, produces it. The
relationship between subject and object does not exist in
conventional time and space but instead is partly imagined and
encompasses 'subjectivity and objectivity, the abstract and the
concrete, the real and the imagined, the knowable and the
unimaginable, the repetitive and the differential, structure and
agency, mind and body, consciousness and the unconscious, the
disciplined and the transdisciplinary, everyday life and unending
history' (Soja, 1996, 57). </span></span>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">My
work also represents the unobtainable; the myth. The capacity of
memory to produce illusionary versions of the past. Like
half-remembered, half-imagined, long hot summers of childhood, these
images are like impenetrable, digitised versions of the endlessly
looping home movies in our heads. Their ice-cream warmth never
satiates our desire to be in the moment. Meaning in my work is
everywhere and nowhere, the images are both potent and facile. They
are both </span></span><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><i>liminal</i></span></span><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">
openings onto psychic space and impenetrable façades that seduce us
with their potential for allegory and pathos. </span></span>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">A
list of artists whose work has influenced me:</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><span style="font-weight: normal;">George
Shaw, Paul Winstanley, Brendan Neiland, Rosie Snell, Wolfgang
Tillmans, Peter Doig, Gerhard Richter, David Hockney, Edward Hopper,
Jeff Wall, Martin Parr, Ed Ruscha, The Boyle Family, David Thorpe,
Laura Oldfield-Ford, Patrick Keiller, Tacita Dean, Janet Cardiff and
</span></span></span><b><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><span style="font-weight: normal;">George
Bures Miller,</span></span></span></b><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><span style="font-weight: normal;">
Neil White, Stephen Willatts</span></span></span><br />
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Anonymoushttp://www.blogger.com/profile/10292223286907582557noreply@blogger.com0tag:blogger.com,1999:blog-1410976031480268962.post-27331361746028419662014-07-26T14:28:00.000-07:002014-07-29T13:41:30.397-07:00Review essay for Richard Paul's 3D video work – Sea of Green (The Enunciation of Images)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri, sans-serif; font-size: small;">On
the 16th of July 1945, on the Trinity site in a remote area of
south-eastern New Mexico, the first atomic bomb was detonated in
preparation for potential use against Japan during World War II. The
explosion left an impact zone 731m in diameter, with a central crater
3m deep by 340m wide. This crater was shaped like a slightly
irregular circular splash, not dissimilar to Harold Edgerton’s
“Milk Drop Coronet” photograph, taken almost 10 years previously.
The central crater was glazed with molten quartz sand containing
olivine and feldspar so, when viewed from the air, it appeared as a
lake of green.</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />Edgerton
was a professor of electrical engineering who pioneered a process for
photographing objects that moved faster than the naked eye could see
using a high speed stroboscopic flash. He was employed by the Atomic
Energy Commission during the war, and after developing the Rapatronic
camera, which is capable of producing inconceivable exposure times,
he went on to document the early atomic bomb tests. His photographs
of the Trinity explosion were taken using exposures of around
10,600,000 frames per second, and the camera exploded after producing
two-thirds of a mile of 35mm film. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />The
relationship between Edgerton’s milk splash and the Trinity test
site becomes a key element in the conceptual framework for Richard
Paul’s new video work “Sea of Green” (2013), onto which he
constructs a densely woven associative narrative, incorporating loose
themes of Cold War anxiety and extreme material transformation. He
does this in production of dualistic montage of images taken from an
archive of stereoscopic 3D slideshows from the 1950s. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />The
work is vivid, richly coloured and has been lent the unavoidably
nostalgic glow of the stock of Kodachrome slides from which the
images were taken. Many of the images have a slick commercial feel,
bringing to mind the cynical impenetrability of Richard Prince’s
early work. Yet, when viewing the work something magical happens: the
viewer makes associative leaps in making sense of the dualisms and
binaries with which they are presented. Information exposited in its
raw form and strung together through associative conceptual narrative
is imbued with rich allegorical meanings by the viewer;
simultaneously placing him / her in the position of both ad-man and
consumer. Chocolate is presented as oozing molten matter next to a
grid of seductive gleaming gem-like chocolates; a collection of china
dolls is seen adjacent to a group of children – painted with
make-up and huddled around a box of chocolates; an eye test charts
overlays desert resembling a post-apocalyptic landscape – the flat
letters define receding 2D planes within the illusionary 3D space.
The work is a hermeneutic web of possible meanings and ways to
interpret them. The wildly arcing connections between possible visual
metaphors appear to be obtusely allegorical, drawing comparisons with
the work of Matthew Barney. Paul suggests that this comparison is
only relevant in the context of Barney’s notions of potentiality
and liminality. Semiotic disparities formed in the relationship
between the images and voices embedded within the audio track,
further add to this sense of ungendered meaning. We are instructed as
to the correct pronunciation of words and phonics, and the mismatch
between words and images, for example yolk / yoke, highlights the
restrictions of language and the constant slippage between signifier
and signified. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />Connections
are made between eye charts, nuclear testing sites and TV test cards.
Materials such as steel are presented as raw matter (in earth), in
their world (of production / manufacturing) and in the context of
their usefulness (as product). Indeed, all these connections close
the Heideggerian loop between ‘earth’ / ‘world’, ‘mere
matter’ / ‘formed matter’, ‘equipment / usefulness’. In
this sense, Paul is not presenting allegory but instead that which
Heidegger (1978) refers to as aletheia or ‘unconcealedness’.
Therefore, the work becomes less about conceptually obtuse
codification and more about the failed disclosure of reality. Paul
refers to this process as “transparency”, suggesting that the
images are neither symbolic nor allegorical but are simply indexical.
Yet for Jervis (1998), allegory, is unavoidable and everywhere in
today’s image saturated world. All images can become allegorical
and the photograph is always haunted by that which is missing from
it. The “photograph, raises the spectre of the double: allegory is
one text doubling another” . Moreover, Sontag (1973) suggests that
all photographs harbour this poignancy in stating “the innocence,
the vulnerability of lives heading towards their own destruction” .
Indeed Paul suggests that Edgerton himself was obsessed with this
relationship between photography and mortality; and many of his
images are attempts to capture the moment of destruction, as a
bullets pass through balloons, fruit, playing cards and other
inanimate objects. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />We
cannot help but see pathos in images of steel works presented
alongside gleaming advertisements; nuclear test sites next to TV test
cards. They evoke a historically specific sense of the failings of
modernity and the impending destruction of mankind. Both the
holocaust and the atomic bomb were the greatest lessons of the 20th
Century, teaching us the dangers of enlightenment thinking in
generating moral uncertainty and essentialist ethics to justify
totalitarian beliefs and actions; what Bauman (1989) terms ‘the
consequences of modernity’. The technological risks of modernity
are implicit within many these images, which have something of the
same unsettling ambivalence as Warhol’s car crash series, Dirk
Skreber’s sculptures or Robert Longo's charcoal drawings of natural
and manmade disasters. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />Many
of the images evoke the golden age of consumerism; the imaginative
space occupied by Richard Hamilton in his interiors; a time before
the power of advertising had been demystified and undermined by the
ultra-cynicism of post-modernity and the new-found agency of
‘consumer power’, respectively. The images are encased within an
illusionary frame, which serves to objectify them within the picture
plane. This effect makes the work begin to resemble those lenticular
place mats of European holiday destinations or the stickers that came
free with packs of Kellogg’s Corn Flakes, early holograms or - most
relevantly - the Viewmaster stereoscopic slide viewer; all of which
are familiar and nostalgic objects to anyone brought up in the Cold
War era. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />Much
of Paul’s past work focuses on the process of demystification,
which occurs within the direct relationship between consumer and
product. Once the middleman of advertising has been removed, new
relations are formed in the triangle between the viewer and the
juxtaposition of objects within Paul’s images. Working within the
parameters of catalogue photography, his photographs present
appropriated images and objects as enunciated speech, free from the
commoditised confines of their original context, yet these are
paradoxically still framed within the formal vernacular of that
context; the photographic forms and conventions for presenting
‘required’ products to an active audience. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />His
photographs give more than a passing nod to Haim Steinbach’s
sculptures, yet move the discussion on. These images not only
demystify commodity fetishism but also enable us to question the
version of reality it presents. In “The Raw And The Cooked”, for
example, Paul presents and over ripe banana next to an ugly ceramic
resembling raw meat whilst mimicking the surface of the banana. The
banana is ‘raw’ and yet is beginning to undergo the process of
decomposition while the ceramic is ‘cooked’. This becomes a
metaphor for Lévi-Strauss’ assertion that semiotic binaries are
formed around culturally specific socio-structural distinctions. </span>
</div>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />As
someone with a background in catalogue photography, Paul seeks to
negate the opaqueness of advertising and to present objects striped
of allegory by embodying the materiality of the sign. Instead he
replaces allegory with mimesis as objects present new layers of
referent signification in a Lacanian game of semiotic peekaboo.
However, in an age where images no longer represent “any sort of
naked reality” but instead “a world already clothed in our
systems of representation” , is there any real difference between
allegory and mimesis or intertextuality and multi-accentuality? This
is perhaps a less than useful paradigm in the context of Paul’s
work, which tries to avert poststructuralist readings. Instead, it
may be best to turn to view Paul’s work in terms of the viewer or
consumer’s desire to generate authenticity. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />Hughes
(1995) outlines two conflicting discourses that make the issue of
people’s ability to generate authenticity in everyday life
problematic. On the one hand, we seek authenticity through the
production of personal meaning; the appropriation of images, things
and places as ‘symbols’ of personal ideology. On the other hand,
we generate illusionary authenticity via commercialized consumption
practices in which we assimilate things and places as ‘signifiers’
of self-identity. Both discourses characterise our need to produce
authentic relations with ‘world’. The former succeeds by
resisting the logic of late capitalism, turning empty ‘signifier’
into ‘symbol’; thus foregrounding the ideological aspirations of
individuals to produce ‘truer’ versions of themselves. The latter
fails, however, in becoming a part of that logic, by forever
deferring meaning of the signifier only ever producing what Taylor
(1989) terms ‘allegory’. Allegory is undoubtedly something which
alludes to depth but in the context of postmodern texts, where it no
longer serves the purpose of encrypting substantive messages /
meanings, it remains as impenetrable, depthless surface. For Lash
(1994) “[a]llegory is cynical, urban, artificial, radically
individualist and highlights the materiality rather than the
transparency of the signifier” . Yet Hughes argues that by
grounding the free-floating signifier with an ideological
‘signified’, it is possible to generate self-oriented
‘existential authenticity’ by transforming ‘signifier’ into
‘symbol’. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;">It
is for this reason that it is wise not to overstate the innate
symbolism within “Sea of Green” beyond suggesting that what
appears to be allegorical is merely indexical. And, instead we leave
the production of substantive meaning or 'symbol' to the viewer.
Without the viewer, each signifier, in turn, defers meaning onto
another in an endless chain of signification. The meaning of a single
image is not defined or understood by its similarity to the next in
the chain but in relation to its difference; a process Derrida terms
‘différence’. The role of the viewer is to anchor the chain of
signification in order to find his / her own meaning in the work; to
complete it, much in the same way as the listener fills in that which
is lacking in an MP3. Each image becomes a solitary speech act -
pronouncing its liberation from its original context. A stock
photograph of someone in Welsh national costume sitting on a green
hill surrounded by mountains is indexed to the formal conventions, to
both the word and colour green, and to the previous and proceeding
slides. Each image is set forth to speak and to find mimetic
relationships to the other images, thus undermining their original
intention as informational and transparent. </span>
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<span style="font-family: Calibri, sans-serif; font-size: small;"><br />Paul
argues that the more romantic elements of the work are incidental to
its conceptual grounding: <br />“I think my interest in the atomic
aspect is that of extreme transformation - sand to glass; its
aestheticisation through images, its relation to the milk drop
coronet and the glass vases; and the period of the 3D images
themselves”. However, as much as Paul protests his work’s
emancipation, it is hard for him to entirely escape the insidious and
nagging anxiety that haunted him as a child growing up in the ’70s
and early ’80s. An anxiety undoubtedly fuelled by TV dramas like
“The War Game” (1965) and “Threads” (1984), together with a
growing belief in the potential for nuclear attack from the USSR,
which grew to media frenzy in the early ‘80s with the advent of the
Reagan administration in the US. Indeed, Paul suggests that, for him,
the beginning of the ’80s was the most formative in seeding an
awareness of the atomic bomb and its potential implications,
“probably because of Reagan ratcheting up the Cold War. There was a
bit of hysteria about the subject – and for good reason, given how
close we got in 1982, according to recent TV documentaries”.</span><br />
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<span style="font-family: Calibri, sans-serif; font-size: small;">Bevis
Fenner 2013 </span>
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