11/24/09
9/15/09
A FEW THOUGHTS ON ADVENTURE
1. YOU ARE NOT THE FIRST ONE
2. THAT DOESN'T MATTER
3. YOU ARE ALREADY ON ONE
A FEW THINGS WE'RE CURIOUS ABOUT
1. HOW DOES SEEING EVERY HOUR OF DAYLIGHT AFFECT US
2. WHY DOES APPRECIATING THE WORLD STOP AT CHILDHOOD
3. WHAT WILL IT BE LIKE TO ALWAYS EXPERIENCE OUTSIDE
4. WHAT DOES A 15MPH CONSISTENT WIND FEEL LIKE AFTER A MONTH
5. WILL WE ADAPT TO HEARING INSECTS WITH A 15MPH GUST OF HEADWIND
6. HOW LONG IS A MONTH
7. WILL MY KNEES MAKE IT, OR WILL I HAVE TO LEAVE THEM BEHIND
1. YOU ARE NOT THE FIRST ONE
2. THAT DOESN'T MATTER
3. YOU ARE ALREADY ON ONE
A FEW THINGS WE'RE CURIOUS ABOUT
1. HOW DOES SEEING EVERY HOUR OF DAYLIGHT AFFECT US
2. WHY DOES APPRECIATING THE WORLD STOP AT CHILDHOOD
3. WHAT WILL IT BE LIKE TO ALWAYS EXPERIENCE OUTSIDE
4. WHAT DOES A 15MPH CONSISTENT WIND FEEL LIKE AFTER A MONTH
5. WILL WE ADAPT TO HEARING INSECTS WITH A 15MPH GUST OF HEADWIND
6. HOW LONG IS A MONTH
7. WILL MY KNEES MAKE IT, OR WILL I HAVE TO LEAVE THEM BEHIND
8/3/09
Sala
Missing Landscape
"Each time the ball goes away, the goalkeeper follows it, and disappears in the „missing landscape". When he returns, he always enters through the door to get back into the playground. This action is like the theatre convention where the actor moves from the kitchen to the waiting room through the trapdoor, even though there are no walls or visible boundaries between the rooms in the scene. The actor considers the entrances to the different spaces. Each time the children enter the playground through the goals, considering a space in a space where there are no walls. They are unconsciously cutting the playground off the world surrounded by the mountains. They are playing the game and the play! There are moments of tension and violence, receiving a stone when giving the ball, just a few meters away from the playground and a few seconds before stepping in. The children are playing the adults living in the „missing landscape" in-between the in playground and the world within the ! ! ! mountains. They are also scoring a few great goals."
Anri Sala
"Each time the ball goes away, the goalkeeper follows it, and disappears in the „missing landscape". When he returns, he always enters through the door to get back into the playground. This action is like the theatre convention where the actor moves from the kitchen to the waiting room through the trapdoor, even though there are no walls or visible boundaries between the rooms in the scene. The actor considers the entrances to the different spaces. Each time the children enter the playground through the goals, considering a space in a space where there are no walls. They are unconsciously cutting the playground off the world surrounded by the mountains. They are playing the game and the play! There are moments of tension and violence, receiving a stone when giving the ball, just a few meters away from the playground and a few seconds before stepping in. The children are playing the adults living in the „missing landscape" in-between the in playground and the world within the ! ! ! mountains. They are also scoring a few great goals."
Anri Sala
8/1/09
7/26/09
piece of mind
Rhys Chatham's "A Crimson Grail" conjures many notions of form. With the intent to use 2,400 strings from electric guitars, Chatham begs the listener to consider their perception of scale. Just how many polyphonic noises similarly executed can create an understanding of the space around you, but also convey ideas of existing in a moment not separated by boundaries? The form is infinitely expandable as long as it remains audible. If all art must follow the rule of form, then Chatham stretches form into an idea of existential awareness.
Usually form centers itself by "fitting." The visual artist has complete control over all aspects of his or her art, especially in the mode of framing. Everything must fit. In a quite beautiful interview with Robert Adams, Adams admits to the structure of form as being one of the inherent truths of a good artist. But it's the attempt to break form that supplies to expandable interest in life, just as it is to appreciate form through it's goal of beauty.
Thanks to Uncle Mike Ensdorf for the links!
Usually form centers itself by "fitting." The visual artist has complete control over all aspects of his or her art, especially in the mode of framing. Everything must fit. In a quite beautiful interview with Robert Adams, Adams admits to the structure of form as being one of the inherent truths of a good artist. But it's the attempt to break form that supplies to expandable interest in life, just as it is to appreciate form through it's goal of beauty.
Thanks to Uncle Mike Ensdorf for the links!
A little thought on time...
With so much of the art world focused on pop culture or political critique, it was very refreshing to be able to hear John Opera speak about a much more humanly universal idea when discussing his work featured in the MP3:2 show at the Museum of Contemporary Photography. His work moves past short term cultural phenomena, and instead moves to the fundamental ideas of time and existence. In his lecture John brought up the idea of Time Registers, how time is recorded and perceived. His work discusses the differences in the ways in which systems react to time. Whether these systems are human, cell based or universal; each system will react to time differently. An action that takes five minutes in my mind, may be felt as an eternity to my inner systems while at the same time be nearly unrecognized in the universal system.
In his work, John Opera chooses to discuss these ideas through photography, a medium traditionally associated with a disconnection to time. His process however, allows for the role of time to have a fundamental impact on his final images. Whether it is by allowing the shear age of equipment to alter the exposure or systematically affecting the image through layering, his work becomes completely tied to his initial concept. By allowing time to have its own presence in his work, distinctly separate from his presence, he is able to create a dialogue imbedded in how we view a two dimensional recreation of a moment while in our linear time-based lives.
In his work, John Opera chooses to discuss these ideas through photography, a medium traditionally associated with a disconnection to time. His process however, allows for the role of time to have a fundamental impact on his final images. Whether it is by allowing the shear age of equipment to alter the exposure or systematically affecting the image through layering, his work becomes completely tied to his initial concept. By allowing time to have its own presence in his work, distinctly separate from his presence, he is able to create a dialogue imbedded in how we view a two dimensional recreation of a moment while in our linear time-based lives.
7/6/09
2/26/09
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