The Day I Became A Woman

Brilliant film. the social construction of 'becoming a woman' through consecutive stages of childhood, adolescence, and old age, revealing 'becoming' woman as culturally manufactured and socailly registered.

Film stills below. directed by Marziyeh Meshkini.

Also to see Simone De Beauveoir's 'Second Sex' 1994 (social construction of gender)

..oops will add photos later

how wierd. i completely forgot i had a blog til now, hence the late post.

new update:

looking at danh vo as suggested by my great sculpture teacher ruth beer
also ming wong, matthais muller, cindy sherman, trying to revisit sonia boyce's the future is social project..trying to find a collab strategy if there is one, peter de rome, genet, still trying to get to grips with nicholas bourriauds theories and 'the social'..was reading a book on this topic by shannon jackson..also trying to read documenta 11 (DIFFICULT)


watching: artificial intelligence, the celluloid closet, ingar bergman, hans haacke lecture talk on tate channel, as awell as a crazy obsession with rachel whitereads work and STILL looking at zarina bhimji's films (out of blue and yellow patch), saw HUNGER by steve mcqueen, streetcar named desire by tennesse williams (DVD), also was watching collections of films by kenneth anger, jean cocteau

listening: drawing room podcast whiteread, tacita dean in discussion of lucia nogueiras work..her work also came up on this train link: http://www.google.co.uk/imgres?q=lucia+nogueira+art&hl=en&biw=1000&bih=693&tbm=isch&tbnid=uzJXUysNTOaKiM:&imgrefurl=http://www.transnational.org.uk/events/9-transnational-correspondence&docid=1h5-57OFc_NpjM&imgurl=http://www.transnational.org.uk/assets/0000/0756/Ends_without_End_medium.jpg%253F1316438598&w=470&h=376&ei=lftvT4LPI6jliALRiYmQBQ&zoom=1

reading: the exiles of marcel duchamp by tj demos, american chinatowns, contemporary art in the middle east

and on top of that, thinking of going new york in may. why not..

ends without ends, lucia nogueira

anthony caro and norman foster

ive been reading up on anthony caro..just found out this pic..reminds me richard back on foundation

http://venicebiennale.britishcouncil.org/people/id/721/image/779

and norman fosters millau bridge

the making of hte bride documentary here: http://www.youtube.com/watch?v=LWrmelbagLA&feature=related

marcus coates

Birdsong: http://www.youtube.com/watch?v=PCCpnDtgxXk

Frieze article on him: http://www.frieze.com/issue/article/focus_marcus_coates/

Shirin Neshat- turbulent

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

and QTV interview with her: http://www.youtube.com/watch?v=uAYHggCarxU

glenn ligon

annotations online work

http://awp.diaart.org/ligon/

photoalbum construction

Site specific, town tour

I really like this idea...found it on this blog: http://perimetersdumbo.wordpress.com/author/larsenhusby/

Lily Mooney’s “Wandering Directions”

By larsenhusby

July 20, 2011 //

For this project, I will create and distribute a fifteen- to thirty-minute self-guided audio tour of DUMBO, narrated by a fictional resident and expert on all things DUMBO.

Passers-by will first encounter the piece on the street. A sign advertising the tour will draw people to a table laid out with mp3 players as well as instructions for downloading the audio tour onto a smartphone or other listening device. If one chooses to take the tour, they’ll receive a map of the route and audio to guide them. The tour will begin with a narrator welcoming them to DUMBO and guiding them towards the park and the water.

The tour’s narrator will present himself as a lifelong city resident and will act as a kind of familiar stranger – a friend of their friend’s friend – who has produced the tour as a kind of insider’s guide to DUMBO. What follows will be a fusion of instruction and narrative, and as the listener is directed through the neighborhood they will also come to understand (by way of digression, anecdote and reflection) the narrator’s life story. This narrator will
relate DUMBO’s history through his personal history, discussing where he was born, where he played, learned, worked, first fell in love and then where his heart was broken, places where his life changed, places he goes for comfort, for reflection, for release, for discovery. The tour will draw parallels between changes in public space and the narrator’s evolution through life and over time, as stories move from childhood to adulthood and old age. Similarly, his tone will be sometimes playful and nostalgic, and sometimes caustic and sarcastic, observing tensions between past and present in the architecture and physical world of the city.

The tour will use large-scale landscapes (views of the river, the bridges, and the city) as well as smaller objects (electrical boxes, inscriptions, graffiti, and architectural details) as jumping-off points for fictional and non-fictional storytelling: historical talk of warehouses and buildings under construction, as well as the narrator’s personal anecdotes set in the streets and businesses through which the tour moves. Sometimes the sensory emphasis will shift: the tour will guide the listener past a bakery and the smell will inspire an anecdote (or, perhaps, an instruction to go in and buy bread). Sound will be an especially important component, and the tour will make use of the live soundscapes in DUMBO (the noisiness under the bridge, the quietness of the park), heightening the listener’s sensitivity to the neighborhood sights and sounds even as her sensory perception is muffled by headphones. The piece will play upon the simultaneous feelings of isolation and immersion experienced in urban public space.

First nations art

Just saw Beat nation: Art, Hip Hop and aboriginal culture at the Vancouver art gallery..i really enjoyed the show, and there were some really works being made..synopsis below

http://www.vanartgallery.bc.ca/the_exhibitions/exhibit_beat_nation.html

Beat Nation reflects a generation of artists who juxtapose urban youth culture with Aboriginal identity in entirely innovative and unexpected ways. Using hip hop and other forms of popular culture, artists create surprising new cultural hybrids—in painting, sculpture, installation, performance and video—that reflect the changing demographics of Aboriginal people today.

In Vancouver, the unceded territories of the Coast Salish Nations have been a meeting ground for urban Aboriginal youth for decades and, since the early 1990s, hip hop has been a driving force of activism in the community. The roots of hip hop culture and music have been transformed into forms that echo current realities of young people, creating dynamic forums for storytelling and indigenous language, as well as new modes of political expression. This movement has been influential across disciplines—similar strategies appear in the visual arts where artists remix, mash-up and juxtapose the old with the new, the rural with the urban, traditional and contemporary as a means to rediscover and reinterpret Aboriginal culture within the shifting terrains of the mainstream.

While this exhibition takes its starting point from hip hop, it branches out to include artists who use pop culture, graffiti, fashion and other signifiers of urban life in combination with more traditional forms of Aboriginal identity. Artists create unique cultural hybrids that include graffiti murals with Haida figures, sculptures carved out of skateboard decks, abstract paintings with form-line design, live video remixes with Hollywood films, and hip hop performances in Aboriginal languages, to name a few. While focused on artists working along the West Coast, Beat Nation brings together artists from across the Americas and reveals the shared connections between those working in vastly different places.

As signifiers of Aboriginal identity and culture continue to shift and transform, and older traditions find renewed meaning in new forms of expression, one thing remains constant: a commitment to politics, to storytelling, to Aboriginal languages, to the land and rights, whether it be with drums skins or turntables, natural pigments or spray paint, ceremonial dancing or break dancing. 

Tsu Héidei Shugaxtutaan I and II by Nicholas Galanin (Tlingit)

Wu tsang

Saw a really interesting article of his in the frieze magazine..currently showing at the whitney biennale, a piece called 'green room'. i really hope his feature film screens in london. in his own words 'I’m an artist and I produce ‘social’ stuff—like parties and performances, and food experimentation and dancing.'more links below..

http://wutsang.com/

http://www.originalplumbing.com/2011/02/20/chrisblog-interview-wu-tsang/

http://artinfo.com/news/story/761447/i-dislike-the-word-visibility-wu-tsang-on-sexuality-creativity-and-conquering-new-yorks-museums

his blog: http://wutsang.blogspot.com/search?updated-max=2011-06-23T14:15:00-07:00&max-results=7&start=21&by-date=false

http://wildnessmovie.com/images.html

also saw the celluloid closet (seen here: http://www.movie2k.to/The-Celluloid-Closet-watch-movie-1021584.html) ties neatly with butlers theory of performativity and also cindy sherman

quite a few articles referenced 'paris is burning'..a landmark film which ive yet to see..trying to track down an online version right now..

also just seen 'you should meet my son', 'we were here' documentary and 'longtime companion'http://www.youtube.com/watch?v=yADCAXkvvAc&feature=related..

also marina abravomich

http://latimesblogs.latimes.com/culturemonster/2011/11/marina-abramovićs-silent-performers-speak-out.html

research

thinking of going to the whitney biennale..some videos online if not anyways..

http://www.youtube.com/watch?v=SF2FNQ8hGOA

theory on carsten hollers turbine hall piece
http://beta.tate.org.uk/research/publications/tate-papers/art-interaction-theoretical-examination-carsten-hollers-test-site

robert mapplethorp and cindy sherman

jamie shovlin

http://www.tate.org.uk/britain/exhibitions/artnow/jamieshovlin/default.shtm

Jamie Shovlin is interested in the tension between truth and fiction, reality and invention. His painstakingly researched and executed works combine inherently flawed systems, pseudo-scientific exactitude and doubtful philosophical propositions with the seemingly objective experience of the archive. Shovlin’s work questions the way in which we map and classify the world around us in order to understand it.
For Art Now, Shovlin has created new work which uses the conventions of museological display and wildlife documentaries. Using drawings, collage, text, sound recordings and projections, the installation explores a juxtaposition of his mother’s subjective view of the wildlife in her suburban garden with the scientific rigour of Charles Darwin’s theory of natural selection, as set out in The Origin of Species (1859).

Supported by Diesel