Franco Cassano, Southern Thought – and Other Essays on the Mediterranean, edited and translated Norma Bouchard and Valerio Ferme (New York: Fordham University Press, 2012)
p.xiii, “the South does not simply constitute an imperfect and incomplete stage of development, but rather a different way of seeing that aims at protecting its own autonomy vis-a-vis the developed world, while deconstructing a symbolic arrogance.”
p.xvi: the author suggests that South is not only the Mediterranean but there are also other “souths” stretching form America to India
p.xxvii: “The South is much much more than a simple not-yet North, that it represents an autonomous and different point of view, and that today more than ever such autonomy enables us to gain a critical perspective on the direction that the world has taken in the era of globalisation and hegemonic liberalism. the South does not only represent the past but also offers useful suggestions for the future: it is another point of vie on the world, a voice that today, more than ever, we must learn to hear.”
p.xl: “identification progress with acceleration destroys forms of experience that are precious and indispensable to mankind.“, p.xliii: referencing Agnes Heller/ mentioning the damages that acceleration inflicts on social memory
My intention through the sketches was the primary use of the ink pens. At some points I got carried away and applied other methods of ink sketching, which I thought were not relevant to the almonds project. At this stage, I think that the work above (ink on paper 150×140 cm) is the one that works the most, it has a direct link to my research area and I have only used the ink pens to make the sketch.
Following the idea of soaked almonds’ shells and hulls, I poured the coloured water in an old plexi glass box (100x100x5cm). I diluted the colored water just to get more quantity and placed the box against sunlight.
Also, I continued experimenting on the sketches. Some did not work (ink on paper, 80x70cm):
and some work as a basis for further experimentation (from left to right: (1) detail of third image above that I want to use for further experimentation on bigger scale, (2) 150×120 ):
The image below is a work I did in 2014 (80x80x8 plexi glass box with a suspended plastic piece of a recycling bin bag with prints of rusted cultivating tools)
Based on the articles in http://www.1000wordsmag.com/, how the author has approached and presented/analysed the artists’ work
- Black is the Day Black is the Night
- General background of the research area, the basis of the research: “writing from the prison is an art of literary resistance”
- The process followed by the artist: exchanged letters with prisoners, tried to visualize their lives, considered the different meaning and significance of prison time
- Reference as to what prison might means, reflects social concerns, supports this with references to literature work
- Then goes into facts and statistics, what is the prisoners profile in terms of gender, age etc
- Reference to a different meaning of the prison, not as a correctional environment but as a place where prisoners get mental support and prepare for the outside world
- Then goes back to the artist’s work: relationship between prison time and photographic time
- Comments on the work of the artist referencing text work of other authors
- Alex and Me
- Here the author starts with a summary, what the work is about: a road trip and broken affair between the a man and a woman/ photographs
- Visual description of the work
- How the idea was conceived and how it was developed
- Commenting on the work and making links with a film, Double Night
- Out of the Blue
- Overview of the general research area/reported missing people making references and giving statistics and facts
- Artist’s research area: creation of an identity for an invisible person
- Starting point of the process: artist made personal contact with a family and collected photos and papers of the missing person
- A description of the way the work was presented
- An interview with the artist, giving a personal inside of the work, how the project was realized
For this project I will continue working on my current research and try to apply new methods and explore different areas on what I have been working on up to this stage. As a first step I worked on my sketch work on a smaller scale and also added colour. My initial thought was to start working on a big scale (as this is my intention for a potential final work) in order to be able to see in practice how this could be realized (sometimes something that works on a small scale does not necessarily work when you go larger). After many unsuccessful attempts (as you can see in earlier posts) I thought of changing my initial approach and experiment on a small scale (going from 150×150 to 30×40)and also using colour. So as a first step I made a few sketches trying out several techniques and ideas. Another diversification that I wish to attempt is to use a bit of science in my work, in terms of trying to solidify the coloured water that I got from soaking almonds. Working with liquids can be quite challenging but i will attempt a few experiments to see how that would work. Also another area that I will attempt to explore is to crush almond hulls and shells and then separate the different components, going from dust to bigger pieces.
Through these processes I intent to explore the various ways that the almond hulls and shells may be used in such way that will have a direct link with the landscape of Cyprus. In terms of visual result whether images may be created that will have a link with the landscape as well a reference to the historic value (as a memory carrier, time referencing etc) and whether a viewer will be able to recognize the connection between him/herself, the land and the the product.
Up to this stage I have adopted a variety of different approaches and strategies. The basis is the product, and how this may be used as the medium in a variety of forms. I intent to continue doing this and pushing my research and “manipulation” of the almond shells and hulls further and to document the results.
The personal risks are a big question mark because most probably is through risks that you will get better results and develop your work further. I think that taking risks are a difficult part of a project because most of the times I do not get the results that I expect and think that I have reached a dead end, which might indeed be the case or not. In past work I have used plexi glass, which I like as a medium and method of displaying/framing work, but from now on I would like to use it less and only when necessary – to push my self to adopt different ways of displaying.
When working with unknown material the challenge is to “control” the medium. Also when doing a 3d-work the mechanics of construction are always a great challenge, it goes from elegant in my mind to chunky and bulky in reality. It must not fall apart, be safe to hung or stand on its own.
I came across an article on the following site (https://artjewelryforum.org/articles-series/throwing-stones-in-glass-houses-on-criticism-art-history-and-critical-discourse , accessed Feb 2017) it relates to the art of jewelry making, but it references the art historian T.J. Clark which I found quite interesting [T.J. Clark, Image of the People (London: Thames & Hudson, 1973)]:
“T.J. Clark writes that he doesn’t want to talk about art as a ‘reflection’ of ideology, social relations or history. He doesn’t want to think about history as a ‘background’ to the artwork, mostly unimportant and every now and then brought into view. Nor does he want to assume that the artistic community (the avant-garde) is necessarily the artist’s point of reference. And he refuses intuitive analogies between form and ideological content, as if a lack of firm compositional focus equals egalitarianism, or fragmented composition equals human alienation in industrial society.”
“I want to discover what concrete transactions are hidden behind the mechanical image of “reflection”, to know how “background” becomes “foreground”; instead of analogy between form and content, to discover the network of real, complex relations between the two. These mediations are themselves historically formed and historically altered; in the case of each artist, each work of art, they are historically specific.”
“Clark wants an art history that keeps looking for active relations between its terms, refusing to allow anything to settle. Objects, whether French paintings or American jewelry, are not expressions of social, political or cultural relations, but instead they actively shape and construct these relations.”