OCA session 25.09.2017 – CW

Positioning Practice

  • degrees of certainty/ if there are some constants, what happens if we document them and challenge them?/ are there areas in our practice that we are certain about?
  • confidence / mind does not work in linear fashion/ is there a requirement for an underpinning base/ living with fear/ is there a need for certainty?
  • what happens if we examine the uncertain aspects / scientists need to prove facts but artists do not work like that / we do not need to present facts / make suggestions, show wxperiences
  • Philosopher Giovanni Battista Vico on the certainty of the maker / has intimate knowledge that viewer does not have
  • things that I am uncertain about my work: use of materials/ presentation methods / engaging with the audience, does the viewer understand the contextual framework?/ diversification of contextual framework between works and projects / difference between commercial  and non-commercial exhibition, should there be such distinction?/ talking about my work / does my work fit within the contemporary art practice/ do I communicate my practice to the audience
  • I feel a bot more certain on that i intent to visualise the landscape based on a historic time line

 

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Reading “Cabinet Magazine”

Article on “Identification” (p.163)

  • research on passports
  • when the need for passports first appeared
  • how people recognised each other, most of the times from what they were wearing (eg. a coat) and not form their characteristics, eg the colour of their eyes
  • how the information included on passports has changed / biometric data

Article on “Underground” (p.421)

  • mines, holes on ground , tunnels etc, as a world that organic world has been banished
  • artificial environment / human built
  • such places have also been created above the ground eg malls
  • “if we go, or imagine going underground, we enter an environment where organic nature is largely absent, but we also retrace a journey that is one of the most enduring and powerful cultural tradition of humankind: a metaphorical journey of discovery through descent below surface” (p.423)

Reading “Air Guitar”

The author is writing from a very personal perspective, and although some references might be considered as extravagant, this is what makes it interesting for the reader. The author is telling his own truth and we do not need to like or not. It is a fact, his story, which is unfolded in a very clever way.  I really enjoyed the examples at the beginning of the book on what is real/fake/artificial

  1. story about the therapists at school/ comparison with cartoons/ to see whether children are being terrorized, live in violent families/ “They ere real (the parents) not cartoons, and we knew the answers they (the therapists) wanted” (p.47) / so do you give the audience what they want to see/ what they expect to see or do you give them 100% of your personal insight
  2.   question on what is real/ “difference between that which we wish to see and that which we wish to see represented” (p.47)
  3. about the sunset/ “one either prefers the honest fakery of the neon or the fake honesty of the sunset” (p.52)
  4. “I wanted to achive Huh? Wow! instead of Wow! Huh?” (p.62)
  5. “I like enhancing dumb stuff that other guys just instinctively trashed” (p.62)

Taking a photo without using an electronic devise

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On 9th & 16th of September I attended seminar sessions by Sheila Pinkel, an American artist. The goal was to take photos but without using any devices. We were asked to take with us any material that we would like to photograph, like small plants, flowers, glass objects etc. The process might be know to photographers, but  it was the first time that I have used it: in a dark room you lay the items you wish to photograph on a piece of photographic paper, you cover this with a piece of glass (if they items are not heavy enough), you cover everything so that the paper is not burned out and you take everything outside for 30-45 mins. It is very simple process, however you need to make several experiments to see under which conditions you get the best results:

  1. It works better when fibre based photographic paper is used, preferably expired because you get a variation of colours
  2. One must take into account the time of the day that the paper is exposed in the sun and the place. I did the experiments at 12:00 in Cyprus under a very strong sunlight, so 30 mins of exposure was enough.
  3. The small size plants and flowers are the best materials to be used for this experiment. Their surface is pressed against the paper by the glass and better results are obrtained.
  4. The thickness of the glass is also important. In experiments where I did not use glass, the imprints on the paper were not as strong.  Where I used thick glass of 1cm the imprints were more intense.

The results of these experiments will be exhibited in a group show. The following text accompanied the invitation of this exhibition.

Over the past two decades photographers have witnessed major changes in imaging technologies. Digital cameras, computers & cell phones have allowed all people using these technologies to become ‘photographers.’ In addition, new imaging techniques now used in the sciences and social sciences have allowed both artists and scientists to make visible phenomena never seen before.

By focusing on the modalities of the medium, this exhibition separates itself from the historicities and ontological traditions of genre, pointing to new alternative ways of looking at and studying the processes of image creation. This practice is anchored in photography’s unrealised artistic potential to engage with new debates about ways of presenting, seeing, and interpreting the world.