Friday, April 13, 2007
Sunday, February 25, 2007
Performing the moment
Performing the moment
Performing the moment
Performing the moment
Performing the moment
Performing the moment
Performing the moment
$&i sand
What I want is a robot who paints.
I dunno, the relationship between the performance and its materials?
TO ME, the recording is more to remember something has been done, and perhaps a means to observe something that you wouldn't have had a chance to otherwise. Any other way, all you have are really bad movies.
Performing the moment
Performing the moment
Performing the moment
Performing the moment
Performing the moment
$&i sand
What I want is a robot who paints.
I dunno, the relationship between the performance and its materials?
TO ME, the recording is more to remember something has been done, and perhaps a means to observe something that you wouldn't have had a chance to otherwise. Any other way, all you have are really bad movies.
Sunday, February 18, 2007
The Work of Art in the Age of Mechanical Reproduction
This is long.
I see what he's saying, but I don't think art through facism and communism are that interconnected. From what I've seen at least, alot of art is politicised in both camps, and both, while perhaps did not call for war, definately glorified it. I think the result of any big government system, particularly during wartime, both politicises art and glorifies fighting to try to instill in it's people a will to fight.
I did like how he described the modernization of art, the reaction towards the appearance of copies, film, photography, etc.
I see what he's saying, but I don't think art through facism and communism are that interconnected. From what I've seen at least, alot of art is politicised in both camps, and both, while perhaps did not call for war, definately glorified it. I think the result of any big government system, particularly during wartime, both politicises art and glorifies fighting to try to instill in it's people a will to fight.
I did like how he described the modernization of art, the reaction towards the appearance of copies, film, photography, etc.
Monday, February 12, 2007
Saturday, February 10, 2007
Haha, oh man...
I was reading the "In Defense of Preformance Art" Thing, and I have to say I am so happy right now. I am fucking happy.
"DREAMING IN SPANISH
I dreamt in Spanish that one day I decided to never perform in English again. A partir de ese momento, me dediqué a presentar mis ideas y mi arte estrictamente en español y solo para públicos estadounidenses atónitos que no entendían nada. Mi español se hizo cada vez mas retórico y complicado hasta el punto en que perdí todo contacto con mi público. A pesar de los ataques de los críticos racistas, me empeciné en hablar español. Entonces, mis colaboradores se molestaron y empezaron a abandonarme. Eventualmente me quede completamente solo, hablando en español, entre fantasmas conceptuales angloparlantes. Afortunadamente I woke up and I was able to perform in English again. I wrote in my diary: "Dreams tend to be much more radical than 'reality.' That’s why they are much closer to art than to life."
This is awesome. I am pretty sure that I am the only one that understood what he was talking about. To you who are tenacious: here.
I am debating on whether I should explain what he said or not. I think I will keep it between myself and Gomez-Pena, as english speakers can still read the most important sentences there, just that the example is lost. By doing what you really want, sometimes you have to give up something you want to say, because if you do what you want to say what you want to say, it is too personal and people will not understand.
If you express what you want to say in a non-personal way, then the message will be clear.
When you just do what you want, the point isn't the message, because if you really wanted to say something, you would choose a way people actually understand you.
As for,
"Excuse me, can you define performance art?”
My response:
"I don't want to."
That is my personal response, my personal thought is a little longer:
I believe every action preformed is art, regardless of whether who ever preforms it considers it art or not. When I "people watch", I watch preformers. Unknowningly, these preformers walk around making art. Their interactions are art, their conversations. Each is a caricature of his or herself. This is too broad a definition I guess though, how can I ask someone to fund me because when I take the bus it is art? So, I further define: "Preformance art" is any action, done deliberatly to recieve some sort of artistic acknowledgement. If I tell a joke to a friend, it is a joke if I want to be one, art if I treat it like art.
I could make the art intensely personal by showing myself going to sleep, but like Gomez-Pena, I would probably lose audience and collaborators, because they probably would lose interest because they don't understand what I am doing, it is too personal. You have to make connections, you have to make people think about something, as long as they find it interesting.
Nevermind, scratch all that.
"Excuse me, can you define performance art?”
response: [action] Punch Gomez-Pena in the forehead.
"DREAMING IN SPANISH
I dreamt in Spanish that one day I decided to never perform in English again. A partir de ese momento, me dediqué a presentar mis ideas y mi arte estrictamente en español y solo para públicos estadounidenses atónitos que no entendían nada. Mi español se hizo cada vez mas retórico y complicado hasta el punto en que perdí todo contacto con mi público. A pesar de los ataques de los críticos racistas, me empeciné en hablar español. Entonces, mis colaboradores se molestaron y empezaron a abandonarme. Eventualmente me quede completamente solo, hablando en español, entre fantasmas conceptuales angloparlantes. Afortunadamente I woke up and I was able to perform in English again. I wrote in my diary: "Dreams tend to be much more radical than 'reality.' That’s why they are much closer to art than to life."
This is awesome. I am pretty sure that I am the only one that understood what he was talking about. To you who are tenacious: here.
I am debating on whether I should explain what he said or not. I think I will keep it between myself and Gomez-Pena, as english speakers can still read the most important sentences there, just that the example is lost. By doing what you really want, sometimes you have to give up something you want to say, because if you do what you want to say what you want to say, it is too personal and people will not understand.
If you express what you want to say in a non-personal way, then the message will be clear.
When you just do what you want, the point isn't the message, because if you really wanted to say something, you would choose a way people actually understand you.
As for,
"Excuse me, can you define performance art?”
My response:
"I don't want to."
That is my personal response, my personal thought is a little longer:
I believe every action preformed is art, regardless of whether who ever preforms it considers it art or not. When I "people watch", I watch preformers. Unknowningly, these preformers walk around making art. Their interactions are art, their conversations. Each is a caricature of his or herself. This is too broad a definition I guess though, how can I ask someone to fund me because when I take the bus it is art? So, I further define: "Preformance art" is any action, done deliberatly to recieve some sort of artistic acknowledgement. If I tell a joke to a friend, it is a joke if I want to be one, art if I treat it like art.
I could make the art intensely personal by showing myself going to sleep, but like Gomez-Pena, I would probably lose audience and collaborators, because they probably would lose interest because they don't understand what I am doing, it is too personal. You have to make connections, you have to make people think about something, as long as they find it interesting.
Nevermind, scratch all that.
"Excuse me, can you define performance art?”
response: [action] Punch Gomez-Pena in the forehead.
Sunday, February 4, 2007
DYI artists, with a side of what I thought about Exercise 1.
PIPILOTTI RIST [ R-002A ]
Nachbarstück / Neighbor piece
----------------------------------------
I like this one best.
It struck me as kind of silly, at first, but after thinking about it for a bit i realised its true tragic
nature. The language of these instruction's is awkward (perhaps due to the translation of them, though I believe it is intentional).
Clearly, this "common idol" must be loved by whoever participates in this.
Even more tragic if the participants knew the idol personally, perhaps a friend or family to one of them, or both. How tragic would it be to find out of this person's demise through a source like a newspaper.
Also, I'm sure that these are instructions that everyone, one way or another, will some day follow, in a way further adding to the tragedy.
As for Exercise 1; I liked it. I think that had we had more time and resources, we could have clarified our roles better, but it had a certain messiness and spontaneity to it that I like to have in my performance art. It was a tough decision, because I didn't want it to be very obvious, but I didn't want people not to notice it either.
Other preformances to consider:
Man and Woman sitting down.
Man and Woman waiting in line at the airport.
Man and Woman using an elevator.
If I could, I would like to have more people participating, with people playing random roles. Some men playing men, some playing women, some women playing men and and some playing women. Perhaps the audience would be given a piece of paper with the names of the actors and their roles at the beginning like a play, or maybe it would be revealed in end credits, like a movie. I think that this piece is better for a movie.
Nachbarstück / Neighbor piece
| - Read newspaper |
I like this one best.
It struck me as kind of silly, at first, but after thinking about it for a bit i realised its true tragic
nature. The language of these instruction's is awkward (perhaps due to the translation of them, though I believe it is intentional).
Clearly, this "common idol" must be loved by whoever participates in this.
Even more tragic if the participants knew the idol personally, perhaps a friend or family to one of them, or both. How tragic would it be to find out of this person's demise through a source like a newspaper.
Also, I'm sure that these are instructions that everyone, one way or another, will some day follow, in a way further adding to the tragedy.
As for Exercise 1; I liked it. I think that had we had more time and resources, we could have clarified our roles better, but it had a certain messiness and spontaneity to it that I like to have in my performance art. It was a tough decision, because I didn't want it to be very obvious, but I didn't want people not to notice it either.
Other preformances to consider:
Man and Woman sitting down.
Man and Woman waiting in line at the airport.
Man and Woman using an elevator.
If I could, I would like to have more people participating, with people playing random roles. Some men playing men, some playing women, some women playing men and and some playing women. Perhaps the audience would be given a piece of paper with the names of the actors and their roles at the beginning like a play, or maybe it would be revealed in end credits, like a movie. I think that this piece is better for a movie.
Saturday, January 27, 2007
The Founding and Manifesto of Futurism.
manifesto_futurism.pdf
Well,jeez. What the hell.
If I had seen what this dude saw I would have started Futurism myself. In fact, I intend to start Futurism myself, once it occurs (and it will). Maybe for like 5 minutes until I realise that this is really restricting myself, and will give up the whole ordeal.
I'm not really much for "-isms" anyways, and this one seems to be particularly self-destructive and perhaps even closed minded; archaeologists are my bros.
At least the writer had the fore-sight to see that once they turned 40 they would be overthrown by those younger than they.
Maybe if I was feeling absurd I would become a futurist.
Right now, I feel like spending sometime with my bros, the archaeologists.
Hopefully this blog will touch you the way the Futurism Manifesto touched me.
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