For our curatorial project we decided to use the color theme, mainly with monochromatic. But we received way less arts than we were expecting. So we choose to accept any work that was check in. As we had almost just students, and some plus one.
My work is a printmaking based in the art from the Headless Heroes album cover and its artist. The girl was changed with my sister’s head.
Art in exhibition.
A second exhibition the art was part of.
Moray Davey writes “Notes on Photography & Accident” more in a way of notes as the title says or even as a collection of quotes than an argumentative essay. Thus, can be said even she writes, it is more of an accident than a thought text.
The essay begins with some quotation on accident and photography. From there she takes off in a direction of explain the reason of doing this way and her intentions to, as she writes, “reclaim this critical history of ideas in relation to contemporary photographs, and to understand how the notion of accident might still be relevant.” Her writing heads to be more a collection of her thoughts in various areas as photography, writing, art, psychology, and everyday events.
In some of the writing she includes a note of photography and accidents. This whole way of writing is, and it was a surprise, well thought for is more of a search of both reader and writer than a close statement from the author.
And because of this unique way of writing, and the curiosity that starts from reading it, is seems to place a value in the art making process theories. She provides thoughtful quotes, and this makes the reader curious of searching more of each quoted author. And because that alone this essay will be certainly revisited a lot of times.
In “Returning to Bikes: Notes on Social Practice” Maria Lind introduces the social practice. That is and idea that has less to do with the way art is made, but the effects it has in the audience and how it can help to make the world a better place. Although is hard to separate a formal way to make art, and this is a core point in Lind’s essay.
While “normal” art is supposed to be focusing in the galleries and professionals of this area, social engaged art are normally post-gallery. The Social Practice is made from minorities and for the minorities. An example is schleuser.net, a website that satirizes the “theatricalization of activism” and smuggling, and reverse bicycle ride in Germany. The both works were made thinking in a way to alter perspectives, idea of social acceptance, and even aware some social issues. The reason of each piece is bigger than the piece itself; that’s why the movement is not called social artwork, but social practice.
The way Hito Steyerl writes “In Defense of the Poor Image” throws some interesting light in the way we shared images in today’s world. In order of quantity we choose to loose quality, and this kind of obscure and unique low quality format is part of our daily life. The way devices from which one can broadcast his/her idea are so numerous, and we have being so tough that we should produce and produce contend there is a sea of low quality videos all across the internet.
As is increansigly easy to produce one’s material, even with really low quality, to search something in a free streaming site is getting more common than going to an actual museum or even rent a DVD. In a way it help to share the knowledge to people whom in other ways would never have access to this material, in a another is increasing the piracy among those who live near the place where the knowledge is created.
Is saying that we prefer to watch a P2P downloaded movie in the day of the opening recorded by someone that smuggled in a camera to the theater but in our own houses, than having to commute to a theater and watch it there. Even with the loss of quality, the contend may be the same. And one could estate that we prefer to have the same contend, no matter the quality of it.
In the lecture “Of Guerrilla Geisha and Samurai Subversion” the interventionist and printmaker Scott Tsichitani tried to prove some of his world view about art and how it should be applied as a way to change the social environment. His idea of the anti-anti-Asian art shows this social engaged art he produces. Although he was working to change the american point of view of the asian culture, he was more interested in explaining the americans what is the asian reality.
In Tsuchitani’s pieces that involved the Asian Art Museum featured exhibits he tried to rethink some stereotypes. The first one was involving the Geisha exhibit were was to much of this americanized romanticized idea. He removed part of the Museum’s poster and removed the woman (that wasn’t a Japanese to begin with) and replaced with his own face. This new poster replaced the original one in the kiosk, and had some slightly differences as the title and his photo. As there was a new email of the Asian Society, some people got in touch with him. And there was a anonymous article published in the news.
His next project was in the same museum, but in focus of a new exhibit about the Samurais. This time there was the same idea of the parody pamphlet, but adding to that a fake parallel website of the Asian Society in San Francisco, showing what was the Samurai’s reality. As how occidentals often have this romantic worldview of the war and violence Japan went throw if the samurais.
In a third exhibit, new as Tsuchitani as part of the exhibit, he decided to display all this interventions. However, some minutes before the gallery opended, the museum asked to take down the documentation of both the interventions and the responses. And this only showed how meaningful his past work was to the academic world. And how is easy to was to the faculty to continue lying to the general public of the Asian culture.
As art theory could be really boring, and its practice so exsiting. That’s at my video is about, is a quotation from Baudrillard’s “The Violence of The Image” lecture. Every teacher of design classes will tell you to read his work, but most of them never did, because it is so boring.
Art as bought from SPCA thrift store
Other artists appropriation from drift stores 1
Other artists appropriation from drift stores 2
Art with the collage.
Art back to the SPCA thrift store.
As the other artists did, with this project I was trying to make the collage, but not to change that much the painting. As there is only cats in the original painting, I decided to put some people. In the magazines I used there were some pictures of some paintings, with a similar style to mine. So added people and didn’t change the style of the painting at all.
Does it have to make sense?
In Zurich, 1918, three artist got together and started to questioning the need of meaning on art. They were living throw some difficult times and the idea that reasoning and logic had guide Europe and North America to the First Great War. This thee artist were Tristan Tzara, Hugo Ball and Hans Arp. Some believe that even the name is non-sense, mainly because it actually is the french word for hobbyhorse.
As an artist I do not have a formed opinion about the need of meaning on art. Although, I don’t find any beauty in picking some random things and naming it art. So I thing the meaning of art it self is what is being questioned in this movement. Should art be something aesthetic, in the way to show beauty, or could grotesque be a kind of art in it self?
Tristan Tzara says in the Dada Manifesto of 1918 that she is against principles. Wouldn’t the role idea of Dada only a way to renounce the idea of meaningful art, creating its own principles? I believe they not only created principles, but meaning and methods. In a way that they break way with the old ideas, but followed the same path.
So in the idea of creating something without meaning they created one of the most meaningful movements in the last century, not because the art pieces meant something on themselves. But because the idea of creating those pieces of art meant that art wouldn’t be the same again.
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