jean pascal flavien

house. breathing house.

living, sleeping, working, exhibiting

virtual objects

http://www.vietnam720.com/Virtual-Objects/Dragon-Fruit-Vietnam.164.html

Life Brought to Art article

Interesting article

http://www.ft.com/cms/s/2/d60e4018-e554-11e1-8ac0-00144feab49a.html#axzz245OBeh2E

August 17, 2012 9:42 pm

Life brought to art

By Hans Ulrich Obrist

To ward off the homogenisation of experience, it is important to shape exhibitions as long-duration projects

For me the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game. This summer those rules seem to be prioritising live experiences.

In July I was in Arles for To the Moon via the Beach, a show conceived by Liam Gillick and Philippe Parreno, who co-curated it with Tom Eccles, Beatrix Ruf and me for Maja Hoffmann’s Luma Foundation. At the beginning of the exhibition, visitors discovered an arena – the town’s ancient amphitheatre – filled with tonnes of sand. Over four days, sand sculptors transformed the site from a beach to a moonscape, which formed an ever-changing backdrop to a series of 22 artists’ projects. Daniel Buren planted small flags like Neil Armstrong’s; Peter Fischli and David Weiss created two sound-emitting stones; Rirkrit Tiravanija had a harmonica-playing musician walk through in a spacesuit; Pierre Huyghe sent across a masked actor with a colony of bees on his face; Pilvi Takala made candid images of the show’s visitors; Douglas Gordon lit a fire.

More

IN VISUAL ARTS

• By Way of These Eyes, The American Museum in Britain, Bath
• Ghosts in the Machine, New Museum, New York
• Flair and Fraternité
• Snapshot ‘The Break’ (2011) by Nermine Hammam

Everything was visible – no difference was made between production, presentation and exchange. In its impermanence, its temporality, it was a reminder that visual art’s engagement with time has a long history, from the Stations of the Cross to Cubism’s exploration of the fourth dimension. Guggenheim curator Nancy Spector points out that John Cage called Robert Rauschenberg’s white paintings “clocks of the room”, with the viewer’s shadow shifting across them over the course of each day.

The American composer is a key figure in the movement towards “live art”. This year marks the 100th anniversary of Cage’s birth, which will be celebrated next week at the Ruhrtriennale with a performance in Essen of his Europeras 1 and 2. These have no action and no leitmotifs; the music is polyphonic and without hierarchy; each instrument plays on equal terms. The music does not go with the costumes and the costumes don’t go with the action – but Cage succeeds in showing the life of all the old musical and theatrical elements of the opera. He makes music with the happenstance of the stage.

Cage’s open scores and instructions are part of the DNA of 12 Rooms, a group exhibition that Klaus Biesenbach and I put together for the Manchester International Festival, and which will also be shown at the Ruhr. In each of the titular rooms, the viewer will encounter a different live art piece, presented by performers following the artists’ instructions.

According to Tino Sehgal – one of the participating artists – the notion of “art” that was generated by sculptors and painters in the early 19th century, and was fully articulated and established by the 1960s, is detaching itself from its material origins and venturing into other realms in the 21st century. 12 Roomsembraces classical sculpture, but places a human on the pedestal. When the last visitors leave and the museum closes its doors, the sculptures will walk out as well. The show will journey to other cities for years to come and will slowly grow as, with each reincarnation, a new room will be added.

. . .

In Halberstadt, Cage completists can experience ASLSP (As SLow aS Possible), a 1987 piece for organ. In his open score, Cage decided not to say just how slowly it should be played; the Halberstadt concert started on September 5 2001 and has an intended duration of 639 years. This work was an inspiration for the Serpentine Marathons, which Julia Peyton-Jones and I have been organising since 2006. These are 48-hour events where artists are given time to explore a concept – which this year is memory. It’s a fitting subject for the current Serpentine Pavilion, designed by Herzog & de Meuron and Ai Weiwei, which uncovers the material traces of the previous 11 pavilions that have occupied this site in Kensington Gardens.

Such dialogues between artists and places, between audiences and exhibitions, are thrillingly catalysed by the forces of globalisation. There is an amazing potential for new encounters among today’s fast-proliferating array of art centres. Yet homogenisation is a danger too, as the French artist Dominique Gonzalez-Foerster has pointed out. For her, exhibitions are a way to resist the pressures towards an ever more uniform experience of time and space, by keeping the visitor in the art moment a little longer.

If that is to happen, it’s important to shape exhibitions as long-duration projects and to consider issues of sustainability and legacy. Fly-in, fly-out curating nearly always produces superficial results; it’s a practice that goes hand in hand with the fashion for applying the word “curating” to everything that involves simply making a choice – radio playlists, hotel decor, even the food stalls in New York’s High Line Park. Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.

Hans Ulrich Obrist is co-director of the Serpentine Gallery, London

Web camming ideas

http://www.youtube.com/watch?v=wa7QE5_tpB4&feature=related

Object tracking with webcam http://www.youtube.com/watch?v=LHtjQR_d88A

Augmented Reality: http://en.wikipedia.org/wiki/Augmented_reality

Technology sites interesting:

http://mooonriver.blogspot.co.uk/2006_08_01_archive.html

http://sp3d.wordpress.com/

http://robbierickman.blogspot.co.uk/2011/11/laserduckpy-coloured-object-tracking.html

http://www.technologyreview.com/tr35/profile.aspx?TRID=816

http://wiki.makerbot.com/start


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Also was looking at these videos on youtube: http://www.youtube.com/watch?v=tFP5oH0aZlE&feature=related

Slaying the Dragon: Reloaded 

To look at Latifa Echakhch



Sarah Sze

Peter Reginato

Thomas Hirshorn

Fassbinder films

Just watched Querelle by fassbinder based on jean genets novel of the same name. and also watched the year of thirteen moons by fassbinder a while ago. intense

DVD blurb at back:

Adapted from Jean Genet's homoerotic novel, the final film of director Fassbinder's career is a surreal tale of sex and murder that has become a cult favourite. Brad Davis stars as Querelle, an enigmatic, drug-dealing sailor on shore leave in the port of Brest. Amidst the sultry, highly charged atmosphere, he embarks on a journey of sexual self-discovery. 
With its striking, iconic imagery, set against the orange glow of a permanent sunset, Querelle is a dreamlike experience and a unique piece of filmmaking.

Querelle: religion and ecstasy., 21 April 2007

Author: rafaelgribes from Castellón, Spain

Well, i've been reading the comments about Fastbeenthere's film, and i think the deep religious character and mood of this moving film it's strangely overshadowed. So let's state it clear: Querelle, a pact with the devil, is mostly concerned with religion - from Latin RELIGARE: rebind -, in times when the churches are some kind of agents of the Control Flux - and sorry for these Borroughsian vocabulary -. The quest Querelle undertakes, is the same quest that we found in the poems by San Juan of the Cruz, or in the desert exile of Simon Stilytes, or in Siddharta's long journey... But in Querelle's case there's something more, something inhuman, because this angel-man is forced to develop an absolutely new series of values - Nietzsche -. All these themes are already in Genet works, and also, as an example, in Yikuo Mishima's works: Descensus ad Inferos as a form to rich the realms of heaven. So this devil which Querelle approaches is nothing but an outcast god - and gods are only gods if they are outcasts -, the only possible god for the rejected, for those confined at the end of the world - let's remember here the fight between Querelle and his brother, Robert, and we'll see that the road where this fight occurs takes to nowhere, well, yes, it takes to a dying sun, to the vacuum, the void, the infinite falling -. Concerning the queerness of the film, i would say that this is something really complex: again, the sexual scene between Querelle and Nono has a sacramental mood, and ritual characteristics - as the assassination of the sailor by Querelle - which make of this scene something else: not only an exposition of human, maybe depraved, desires, but of a desire to reach the unreachable: god or devil, never mind. In this scene, Querelle is baptized, and Dodo, the black monster, plays the role of John the Baptist. All is rebound to religion, even the music, and the "nomansland's" aspects of the xerography in this crazy and beautiful film.

ANDREA ZITTEL

Klara Liden: Bodies of Society

Melanie Bonajo Furniture Bondage

AA Bronson: A History of Printed Matter

http://fillip.ca/podcast/2008-09-22

The Devils Music BBC programme
First transmitted in 1979, Alexis Korner delves into the soulful world of traditional black American Blues music. Exploring its origins and reviewing unique footage of acclaimed Blues artists including Sonny Blake, Sam Chatmon, Houston Stackhouse and Booker White


http://www.tate.org.uk/context-comment/video/architectureart-crossover-and-collaboration-edi-rama-and-anri-sala


Tania Brugera http://fillip.ca/podcast/2011-01-10




Tania Bruguera


http://www.tate.org.uk/whats-on/tate-modern-tanks-tate-modern/exhibition/tania-bruguera-immigrant-movement-international


http://www.tate.org.uk/context-comment/video/tania-bruguera


http://www.tate.org.uk/context-comment/blogs/do-you-have-be-there-experience-performance-based-art-work


http://www.tate.org.uk/context-comment/articles/art-writing-people

Taj Mahal- Secrets and mysteries BBC http://www.youtube.com/watch?v=c9dvrQ26arA&feature=related

http://www.youtube.com/watch?v=Wk6gPxODIa8&feature=related

Also watching videos on youtube of tibetan prayer flags- can see the flow of huge archiectural forms billowing in the wind

Reading poetics of space leading to more research:
http://en.wikipedia.org/wiki/Genius_loci

http://en.wikipedia.org/wiki/Spirit_of_place

http://en.wikipedia.org/wiki/Heimat

Paper Effigy- china

http://www.taoistsecret.com/taoistarchives.html

Poetics of Space

Shells- http://www.shells-of-aquarius.com/murex-shells.html

Top Image: Pink Murex shells

Below: Whelk Shells

Mike Nelson
http://www.mikenelson.org.uk/

Image - Mike Kelley: Test Room Containing Multiple Stimuli Known to Elicit Curiosity And Manipulatory Responses (full cast) [1], 2001. Courtesy Mike Kelley.

The exhibition is curated by Stephanie Rosenthal, Chief Curator of the Hayward Gallery. Featured artists include some of modern and contemporary art's most celebrated artists and choreographers: Tania Bruguera, William Forsythe, Isaac Julien, Mike Kelley, La Ribot, Robert Morris, Bruce Nauman, Tino Sehgal, Yvonne Rainer, Simone Forti and Trisha Brown.



Tunga, True Rouge, 1998, installation view, dimensions variable. All images courtesy of Luhring Augustine.


TUNGA BRAZIL


ERNESTO NETO RESEARCH. had show in hayward gallery 2010

Ernesto Neto (b. 1964) lives and works in Rio de Janeiro and has established over the past 20 years an international reputation for his work. His influences range from the international artists Constantin Brancusi, Giovanni Anselmo, and Richard Serra to his Brazilian predecessors, Lygia Clark, Hélio Oiticica, and Tunga. He has been the subject of major solo exhibitions in New York and Paris and has been included in major group shows including the Carnegie International (1999) and the Venice Biennale (2001). Last year, he created his largest work to date, anthropodino at the Park Avenue Armory, New York.

Over the last decade, he has achieved international acclaim for dramatic, participatory environments involving biomorphic forms. Though his work is characterised by the use of stretchy, transparent fabric, often weighted with spices, he constantly experiments with other materials and explores new techniques. Underpinning all his work is a continual inquiry into a vast range of subjects, including anthropology, subatomic physics, urban planning, sociology, film and literature. In his work, Neto aims to create 'an art that unites, helping us to interact with others, showing us the limits, not as barriers but as a place of sensations and of exchange and continuity.'

pino pascali
micro architecture
serpentine gallery pavillion 2000-2011

Yvonne Rainer

architecture blueprints

http://www.wikihow.com/Make-Blueprints

http://www.interviewmagazine.com/art/jenny-holzer#_

Alice Channer

ALICE CHANNER: OUT OF BODY

EXHIBITION: 2 MARCH - 13 MAY 2012

PRESS VIEW: THURSDAY 1 MARCH 2012, 10AM-12PM - RSVP
PREVIEW: THURSDAY 1 MARCH 2012, 6.30-8.30PM

For her South London Gallery exhibition, British artist Alice Channer has created an installation of entirely new works which extend her exploration of the relationship between the human body, personal adornment, materials and sculpture. In these figurative works, Channer questions established hierarchies within the history of art, objects and clothing, and offers a unique perspective on manufacturing, the hand-made and consumer culture.  

Out of Body brings together a group of sculptural works which the artist defines as being figurative, but from which recognisable representation of the human form is as noticeable by its absence as by its presence. It is the tension born of that relationship which weaves a binding thread between pieces made in a broad range of materials, using a variety of techniques and on radically differing scales. 

Entering the main gallery the viewer is confronted by Cold Metal Body, a radically stretched and distorted digital print of stone-carved classical drapery, suspended from the impressive height of the space and held to the floor by a marble surrogate limb. The bodily references are direct if not immediately obvious in this work, but less so is the distinction between what is human and what is not. Two other pieces, entitled Lungs and Eyes, span the space in a different way, each one occupying opposite walls, 20 metres in length, in a sequence of aluminium frames which take their forms from Yves Saint Laurent’s drawings for his famous ‘Le Smoking’ suits. Establishing a dialogue between the industrially-produced metal armatures and the artist’s body, every frame has been hand-covered in machine-sewn Spandex sleeves, which have been digitally printed with an ink impression of Channer’s arm, stretched beyond recognition. 

Adding to this complex web of relationships between various methods of production and references to the human body, floor-based sculptures entitled Amphibians and Reptiles combine machined, hand-carved and polished marble with aluminium casts of stretch-fit Topshop clothing and mirror polished stainless steel which has been digitally cut and industrially rolled along hand-drawn lines.

In talking about the show, Channer says:
“I am not trying to oppose or find alternatives to the things that separate us from ourselves – the machine, the industrial, the virtual, the commercial.  Instead, I am seduced by these things and am becoming part of them through the work. The work is me, breathing, feeling and thinking with, through and as part of the processes and materials that make up the industrial and post-industrial late-capitalist world that I live in and that constitute my work.”

Channer graduated from London's Goldsmiths College in 2006, and the Royal College of Art in 2008, and has since shown in numerous group shows as well as at The Approach, London.

The exhibition is accompanied by the publication of the artist’s first monograph.

The exhibition is supported by Vicky Hughes and John Smith, The Henry Moore Foundation and The Elephant Trust. With additional thanks to The Approach.

http://www.mathieucopeland.net/VOIDS.html

http://www.artfagcity.com/2009/10/15/frieze-fair-highlights-go-to-frame/

http://www.youtube.com/watch?v=yni0DzN0kGM
-trying to find lectures by simon fujiwara

http://www.google.co.uk/imgres?q=benglis+dildo&hl=en&sa=X&biw=1024&bih=652&tbm=isch&prmd=imvns&tbnid=SySYhx4BtvB6UM:&imgrefurl=http://joannemattera.blogspot.com/2011/07/little-late-lynda-benglis-at-numu.html&docid=s22ROVsV3DekdM&imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrb3yfWbZEgjHThKNzwaqPFWeaQq2umTMwvYFCB_jzTyCoZ2JN4-1kXk1EcDIef4yFJ3_gAdN0SbNyc11BqT7wx-bKEgZsDhrNFNOrXBSfRVVSGj33ItVMUI7FcJ2zAgNsm4mzJR8qJco/s1600/_MG_4070b.jpg&w=1600&h=1067&ei=V6itT97mG-rliAKsuMmZBA&zoom=1&iact=hc&vpx=403&vpy=353&dur=2194&hovh=183&hovw=275&tx=191&ty=74&sig=100306505174412480415&page=3&tbnh=153&tbnw=210&start=35&ndsp=20&ved=1t:429,r:12,s:35,i:177

need to look at mike kellys arena book too and installations

http://www.youtube.com/watch?v=47bQT_xnlzA&list=%2Fwatch%3Fv%3D47bQT_xnlzA&list=UUcA1don221rKq1EmbvQB27g&index=0&feature=plcp
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Conference: "Ethics of the Urban: the City and the Spaces of the Political" - Keynote

http://www.youtube.com/watch?v=qzsYIB9oX8o&feature=relmfu

Cremasteric reflex

A selection of films chosen and introduced by Alice Channer.

Helena Wlodarczyk, Slad (Trace), 1976, 35mm transferred on DVD, 13 min
This film about the acclaimed Polish sculptor Alina Szapocznikow (1926-73) was made by Wlodarczyk, one of Szapocznikow's own students. Amongst other works, it presents Le Voyage (The Journey), one of the artists' figurative sculptures, moving seemingly of its own accord through the streets of Lodz, Poland.

Ken Russell, Pop Goes The Easel, 1962, 44 min
This film was made for the eponymous BBC Monitor series and, at the time, it was considered a cutting edge depiction of London's Pop Art scene. Presenting successive portraits of artists Peter Blake, Peter Phillips, Derek Boshier and Pauline Boty, it is mostly shot in the artists' flats and studios. Rather than working in an interview format, the film brings an often surreal, richly textured visual and musical insight in the work and lives of the artists.

Geoffrey Haydon, Ed Ruscha, 1980, 28 min
This documentary about American painter Ed Ruscha was produced for the BBC Seven Artists Series. It follows the artist travelling around Los Angeles as he constructs an imitation boulder and takes it out of the city to place it in the desert. As the film progresses, elements of the Los Angeles landscape, both visual and aural, become interchangeable with frames of his drawings and paintings. The film itself becomes a landscape of Ruscha's practice.

Booking is essential.
Book online or call 020 7703 6120

http://en.wikipedia.org/wiki/Cremasteric_reflex


interested in reflexes, stuff you can't control. human, internal mechanisms.


need to check these stuff out: http://www.southlondongallery.org/page/where-sculptures-walk


When 
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