Thinking in Layers.
On the 9th of november Stephanie Mann and Lewis den Hertog presented their exhibition Siesta Pinwheel at the eca project space. Curated by these two fine arts students of edinburgh college of art the show featured works by nine other students, presented in the eight drawers of one of these archive cabinets that tend to grow lonely in old office buildings during the digitalised 21st century. In art colleges they don`t. Art colleges take care of things. Especially when you find them to be bulky, heavy-weight and slightly overaged.
The upper drawer showed photos by Calvin Laing. The second one a piece of neon-yellow fabric folded into the drawer by Stuart Barnes. The third drawer showed a work by Christina Alvarez that read the words Take your Time which were painstakingly carefully carved into an A3 piece of paper. The removed paper was collected in a small porcelain tin. The fourth drawer (Georgia Murray) contained an iPod Nano and a miniture speakerbox, playing birds twitter. Alica Bradshaw & Bob Milners drawer showed the printed mail exchange between the two artists and the curators illustrating the preparation for Siesta Pinwheel aswell as their ideas running off into sand because of the artists absence and an apparent lack of communication. One of the drawers (Patricia Martin-Sanches) showed a screenshot of the google images search for “siesta pinwheel”, another one appeared to be a fold-out zoetrope (Patric Hurst) and the last drawer (Page Benkowski) was filled with “dry ice” (solid carbon dioxide) that would sublimate when the artist watered it.
If there is such thing as a dramaturgy between the drawers than it is a natural one. One that is determined by the beholder through opening and closing the drawers in whatever consciously or subconsciously chosen order. What spacially appears as one upon the other turns to a coexisting and staggered in time side by side experience resulting in a certain ease in perception. The tranquility of perceiving each artwork by itself despite the visually, and in the case of the sound-installation, acoustically manifested omnipresence of the artworks entity seems to be a universal truth.
As a wonderfully silent backlash to the approach of the simultaneity of everything at every point Siesta Pinwheel manifests a thankworthy unsophisticated way of not overproducing dialogue. Unlike the unfortunately still ubiquitous seeming white cube, the artworks are not given the maximum of space and neutrality but an almost poetic narrative structure. Just like we might gain knowledge stage by stage, during different times and in different places, every new layer of ken that we acquire seems to be in inevitable consideration of the congeries of the whole.
Why the exhibition cycle is actually called Siesta Pinwheel remains a secret until at least the next show in February, say the curators. If we can expect an only related amount of ease and beauty in the presentation of artworks with likewise filigree and swayed thoughts behind them - I`m looking forward.
THE HANS ULRICH OBRIST WAY. LISTING ARTIST STATEMENTS.
For the New York based web space on art Paddle8 Hans Ulrich Obrist and Marina Abramovic recorded a conversation on skype in which Obrist comes up with a list of artist statements on future.
“Let’s talk more about the future! Obviously, because this notion of the future, a curator cannot predict the future of art. Artists have many antennas and curators can be close to artists and then see the future through the artists. I’ve ask a lot of artists to tell me about the future, and I have this long list, which is seen on this poster.
And it so starts with:
The future will be chrome
The future will be curved
The future will be “in the name of the future”
The future will be so subjective
The future will be bouclette
The future will be curious
The future will be obsolete
The future will be asymmetric
The future will be a slap in the face
The future will be delayed
The future does not exist but in snapshots
The future will be tropical
Future? …you must be mistaken
The future will be overgrown and decayed
The future will be tense
Zukunft ist lecker
Zukunft ist wichtiger als Freizeit
Helmut Kohl (proposed by Carsten Höller)
A future fuelled by human waste
The future is going nowhere without us.
The future is now – the future is it
The future is one night, just look up
The future will be a remake…
Didier Fiuza Faustino
The future is what we construct from what we remember of the past – the present is the time of instantaneous revelation
The future is this place at a different time.
The future will be widely reproduced and distributed
The future will be whatever we make it
The future will involve splendour and poverty
The future is uncertain because it will be what we make it
The future is waiting – the future will be self-organized
Raqs Media Collective
Dum Spero/ While I breathe, I hope
This is not the future
The future is a dog/ l’avenir c’est la femme
Jacques Herzog & Pierre de Meuron
On its way; it was here yesterday
The future will be an armchair strategist, the future will be like no snow on the broken bridge
The future always flies in under the radar
Suture that future
‘To-morrow, and to-morrow, and to-morrow’ (Shakespeare)
The future is overrated
Cerith Wyn Evans
futuro = $B!g(B
The future is a large pharmacy with a memory deficit
The future will be bamboo
Tay Kheng Soon
The future will be ousss
The future will be…grains, particles & bits.
The future will be…ripples, waves & flow.
The future will be…mix, swarms, multitudes.
The future will be…the future we deserve but with some surprises, if only some of us take notice.
In the future…the earth as a weapon…
Allora & Calzadilla
The future is our excuse.
Joseph Grigely and Amy Vogel
The future will be repeated.
Ok, ok I’ll tell you about the future; but I am very busy right now; give me a couple of days more to finish some things and I’ll get back to you.
Future is instant
Yung Ho Chang
‘The future is not.’
The future is private
The future will be layered and inconsistent
The future is a piano wire in a pussy powering something important
In the future perhaps there will be no past
The future was
The future is menace
The future is a forget-me-not
The future is an knowing exchange of glances
The future: Scratching on things I could disavow.
The future is our own wishful thinking.
Le futur est un étoilement
The future is now
The future has a silver lining
The future is now and here
THE FUTURE? SEE YOU THERE!
AS ARTISTS WE WANT TO HELP TO FORM OUR TOMORROWS.
WE HAVE ALWAYS BELIEVED IN THE PAST, PRESENT AND FUTURE.
ITS GOING TO BE MARVELOUS.
LONG LIVE THE FUTURE WITH LOTS OF LOVE
ALWAYS AND ALWAYS
The future is without you
The future is a season.
The future is a poster
We have repeated the future out of existence
The future has two large beautiful eyes
less, few tours in my future
Future is what it is.
Huang Yong Ping
The future is the very few years we have remaining before all time becomes one time.
FUTURE MUST BE HERE TODAY
Future is more freedom
My art is very free, I don’t know what to do in the future. But I am positive.
The future is inside.
Shumon Basar, Markus Miessen, Åbäke
NO FUTURE – PUNK IS NOT DEATH !
The future will be grim if we don’t do something about it.
The future is reflexive and coming together
The future is listening
The future lies in the unknown
What the future is, you only know next morning
Die Zukunft kann man nur ueber Nacht definieren
The future is a disease
future >< past
Since the origin’s origin, life precedes death, wherefrom the future.
The future is a record on skip
The future is 10k years long. In that context “seize the century” sort of makes sense.
The future is unthinkable
Later on Marina Abramovics following statement on the future is being added to list:
“Okay, this is what I think. Future is already here. And is completely out of our control.”
VENICE 2011: THE 54th INTERNATIONAL ART EXHIBTION
Since some of our master students are in venice to see the biennial this next week and I wouldnt come because Ive been there in the late summer, this is a very brief summary of some of my central impressions:
The titel of the 54th art biennial ILLUMInazioni obviously refers to both light and nation which curator Bice Curiger probably applies most evidently in the Central Pavilion. And that is where I started my tour: With the Giardini, so the Central Pavillion and the countries Pavillions.
The Central Pavillion shows an exhibition featuring artists such as Maurizio Cattelan, Philippe Parreno, Sigmar Polke, Seth Price, Monika Sosnowska and Cyprien Gaillard (who recently and unsurprisingly won the Preis der Nationalgalerie). Among the group exibition three paintings of the venetian and renaissance painter Jacopo Tintoretto were shown. Tintoretto was student of Tizian and is well known for his outstandig execution of light. Showing historical paintings like Tintorettos among a selection of young works if contentwise self-evident can be of great value for a contemporary art exhibition, in my eyes. Put into a more extensive context like that, contemporary art works will always be eyed in a different and maybe more critical manner concerning craft and interpretability since such a situation inevitably implies the question of the art term in comparative regards.
The countries Pavillions: I was indeed deeply moved by Christoph Schlingensiefs Eine Kirche der Angst vor dem Fremden in mir (A church of fear of the foreigner in me) from 2008, presented in the German Pavillion. Although Schlingensief himself did not plan to show this installation for the biennial and so neither the final decision nor the actual installation was done on his own behalf the aim of the work did not seem to experience any disprofit. Eine Kirche der Angst vor dem Fremden in mir is most privately dealing with the artist suffering of lung cancer. The funeral ceremony alike stage-installation empathises with the replica of the apsis of the oberhausen church in which Schlingensief was altar server when he was a boy. A video shows him as a boy playing a dying cowboy, the artist voice-over is saying “Nicht berühren, bitte nicht berühren, jetzt” - “Don`t touch me, please don`t touch me, now”. The workes grievous emotionality together with its spacial dimension felt like it was of great honesty in its handling with the most basic human values and fears. Christoph Schlingensief was one of the radical revolutionarys of german film and especially theatre. He died of cancer in august 2010.
Albeit the natural and constant pressure to get the greatest amount of input possible, moving within the Giardini felt like promenading, like a downtime. That (in its best sense) in-between vacuity provided the ability to conclude ones on-site deliberation on one complex of thoughts on the one hand and on the other hand allow room for further gathering in a second step.
Christian Marclays work The Clock displayed another becalming instant. The Clock is a 24 hour long film composed of sequences from existing movies interacting with the current time of the day. Placed at the vertex of the corridor-like and L-shaped Arsenale venue the work was presented in a darkened space providing sofas. Through the ability to comfortably rest whilst watching the video art work The Clock does not only constitute a highlight in content but also a climax within the dramaturgy of the Arsenale.
I want to end that very brief insight in my views on the Venice art biennial with the young Jackson Pollock painting Eyes in the Heat that I saw at the Peggy Guggenheim Collection in Venice and that seems to enduringly intrigue me as both obviously logic in Pollocks work and outstandingly beautifully manual and fleshy on the other hand. With its bodacious liveliness despite the retentive structuralism the work does seem to not only be an icon of the Peggy Guggenheim Collection but also of the swirl Venice appears to go under during the Biennial, every second year.
ON THE CURATOR: EXCERPT FROM A ZEIT INTERVIEW WITH GERMAN ARTIST DANIEL RICHTER
Richter: … Because that is what most artists do: They bore me and take me for a fool. They are a lot less interested in the choice of media than in what their art pretends to illustrate. And they`re interested in catalogue essays, of course, providing everything from Agamben to Žižek that could possibly impress. That is what especially the curators get exited about.
ZEIT: How do you mean?
Richter: Curators are always searching for dissertation guides to art. For them artists perspectives are only an expression of theses. I`m not interested in these curator-exhibitions. I don`t attend biennials, triannials or manifestas, either.
ZEIT: But aren`t these the exact places of the presence that you are searching for?
Richter: I prefer seeing exhibitions for whom the artist really worked. Just like I prefer reading a novel instead of a collection of short stories.
ZEIT: And how about current political issues, that are debated on biennilas – wouldn`t these interest you?
Richter: That is a question of time, maybe. If I´m interested in the history of the 20th century, I have to decide whether I should read Eric Hobsbawm, John Keegan or Alain Badiou or whether I should see an exhibition dispraising Tschadors. I prefer reading books by people who are substantially engaged in a topic. An exhibition cannot achieve what a good book can achieve. (laughing)
http:www.zeit.de/2011/39/Interview-Richter Translated from the german.
Within the upcoming year this blog is to present the research and work during my master in contemporary art theory at the edinburgh college of art. It is to demonstrate current dynamics and challenge necessities in curatorial practices and young contemporary art theory and praxis.
In terms of these specifications ALLES FUER DIE KUNST aims to minister to the accessibility and the mediation of contemporary art to everyone.
ALLES FUER DIE KUNST is run by Lia Marie Hillers.