FINAL Weeks....

http://thesartorialist.blogspot.com/











I agree with a few statements by others that this course has pushed us into to being more opinionated and I have enjoyed it.. The Blog has kept me going, and kept me interested, Other wise it didnt really matter previously if we missed a week of reading here or there,

Even though it feels as though the essay is all over the place, for me personally and all up in the air.. ..

I would prefer more feed back from essay questions. As there seems to be a negative responce but no push in the right direction.... for more then one person....

As to relational aesthetics... Its been here all along... I dont know why people are just realising it... or reviving it now..
SOME of the work is interesting and some is a bore.. But you get that everywhere....

anyway... back to the essay hay...

I vow all beings-“Never see a need without doing something about it”

An event with no beginning and no end, no division between stage and public, no specified path to take – it is a theatre liberated from rules. From the stalls to the circles to the stage, a forest of trees has grown and spread throughout the entire Concert Hall. The light of dawn barely shines on this valley obscured by clouds. This is an in-between reality, an image of an environment, a fact that appears for a brief moment just before vanishing.

In 2008 the Sydney Opera house was transformed into a beautiful forest, audiences with flashlights upon their heads found their way around the paths, trying to find different ways to go.. Though there really wasn't to much freedom and ropes kept you out of bounds.. But Putting that aside, it was dark, you could feel the moisture on your skin, and it was a one off experience. A forest in the Opera house... Was it amazing??

"Someone walking between the trees tells a story. As the voice draws the audience into the forest, the lyrics of the song tell how to find a way out; out of the Concert Hall and into the reality of a place elsewhere.
The Concert Hall presents a geographical displacement. This image is a diversion, an extension towards another world and yet it is the same. The song is a map for a journey towards what constitutes the image. It is a line following a chain of events in the life of an environment."

Huyghe has been creating a variety of artworks and collaborative projects since the early 1990s. Interested in the exhibition as a moment where potential new realities can emerge, in the freedom of non-productive actions, in the layering of interpretations, both factual and fictional, and in experience as a territory of infinite possible narratives, Huyghe’s practice has earned him a reputation as one of the most experimental artists of his generation.
Evident in his works is a recurring desire to introduce a space of speculation and play into art, and the impulse to consider art as a landscape in which to make manifest the way people can, and do, react to the homogenising attempts embedded in consumer culture by encouraging the dynamic reconstruction of their everyday lives.




the simplicity of growing and letting grow, overshadow and mellow down the implications

I think the way we all look at nature is different and definitely affects us all in many ways, there are a few statements that i like from the blogs that id like to keep on here. Sometimes we just dont need a reason, sometimes things are just the way they are, I have an obsession with trees, and i Do love peace, and quiet. THis is a photo that i took in Canada, most beautiful country ever! Maybe this image represented me at the time.. the past or present. I know its a part of me, just like this project is a part of everyone participating in it. I guess watching something grow is personal, which makes you change in some manner or grow.

Plants grow to heal the soil - (soul?)
They mostly relate to the relationship between time and change - (and the inner)
Things grow, change through time, and to witness the slow unfolding of change demystify stiff solutions,
defined resolutions- (being)



“We must teach more by example than by word.” (1867)

Aesthetics and politics

Aesthetics and politics
in the age of ambient spectacles

The relationship between themes of Art and Politics -
Significance of the Avant garde experiments with everyday life and techniques of literary representation, activist techniques of communication in the eye of new cosmopolitan political and aesthetic consciousness.

ART IN WAR - where does it stand?

"A new aesthetic realm, one that also blurs the boundary between the act of representation from political intervention."

As I've stated in earlier blogs " the artist is expected to push boundaries " but what does that mean in the manner of letting something happen thats not politically correct. The documentation of particular events does effect the way in which we perceive things one in memory and in history, personally and in the eye of the community. WAtching something behind a camera is like letting something happen, that just maybe you could have stopped, changed or given a chance of hope, though artist and self development has over ruled the human ability to help others. Thoughts of what an artist is doing At the time of an unplanned event or disaster, are pushed away when later reviewed as documentation it is sometimes the last image of a person or landmark. Even though this isn't exactly the theme of the article in relation to 9/11 this is what it makes me think of in reading this.. Even though it is more so that the mass media and consistent imagery within the public eye, that allows an event to reoccur with 'ambient fear' becoming an aesthetic field on an event. the continuos expression of events effects not only families in the community, the world and those not even near the disaster.

"The function of Art is not an Innocent Bystander"

The“need to reconsider culture (and ethics) on the basis of a positive idea of the transitory, instead of holding on to the opposition between the ephemeral and the durable and seeing the latter as the touchstone of true art and the former as the sign of barbarism”.
After the documentary and consistence of public remembrance of 9/11 it wasn't until The public artwork in2005 located in Central Park 'The gates' by Christo and Jean Claude The biggest public art work New York had seen, which was an unexpected antidote that replaced gloom with joy and war with serenity. the Event and gathering of spectators and audience changed the impact of the horror from previous photography but photographing each other the light the sounds are all which made the artwork rather then the documentation of the gates alone. The gates is a project at once a souvenir of the present moment and a monument to events of the past and future and yet commemorative of neither heros or victims unlike anything else displayed previously in the public eye. Can the function of art be an innocent bystander or in one way effect the atmosphere or create it to be innocent?


Must I add that the site of the twin tower crash is yet to had a memorial in place. That ten years later the space is still un occupied and only plans of a memorial have been made up. Must you be an artist to do something of such significance.

disappearing blog - Conversation Pieces

“ An artist is expected to cross the line (morally) and push boundaries that the ordinary, would not often dare to pursue ”

Conversation Pieces
Community and Communication in Modern Art
Grant H Kester

Departing from tradition object making, the introduction of conversation Pieces, expresses projects developed and pursued by a variety of artists. Using performative based approaches this group or artists are described as “context providers” rather then “content providers”. In which they are creatively collaborating various personalities and organised discussions, interventions as well as providing ‘safe havens’ for stereo typical identities.

I find the organised meetings such as Wochen Klauser’s floating dialogues interesting after having a conversation with a studio lecturer agreeing that artists should and normally do cross the line, through work and generally crossing over into your life. The artists are now creating an environment that the general public are faced with seeing what they would/could generally turn a blind eye towards. The aim to start a conversation was based around the drug issues that then later led to prostitution in Zurich and creating moral ways to stop these women/men staying/becoming homeless. At the same time in California A rooftop meeting was going on dealing with issues of stereotypes, racial profiling (etc.) These groupings of artists and ordinary people were creating a space in which people could talk about community issues with those that are facing them in everyday life, The collaborative artists were context providers.

I find these performances relate closely to a television show on SBS called ‘Insight’ In which a host has organised a topic of interest and those in the community that relate to it are involved in the audience and a dictated conversation is able to take place. To take away stereotypical points of view on the general public.
Like the projects they are public dialogues, that also help children, men, women anyone face the problems they encounter in their everyday life. Even though the host may not be an artist and it is in an organised tv studio, the idea behind the movement is clearly seen here in this act of community and groupings of different racial, religious and political backgrounds.

“ The questions that are raised by these projects have a broader cultural and political resonance as well.
How do we form collective community identities with out scapegoating those who are excluded from them?
Is it possible to develop cross cultural dialogue without sacrificing the unique identities of individual speakers? And what does it mean for the artist to surrender the security of self expression for the risk of inter subjective engagement.”

The introduction of this book contains a lot of information about particular views, and branches out to many artists and their communities. I find the writing interesting and in relation to avant garde and the fact that they have developed new interactions and methods of art practice to shock the viewer lifting them out of their ‘familiar boundaries of a common language, existing modes of representation and even their own sense of self’ placing them in a conversation rather then one they would have about something on their own.

The whole movement is about the ‘dialogue aesthetic’ rather then the aesthetics of an object. Which I don’t Mind, but being obsessed with art and its practices I will continue to develop my skills in the studio every day. Trying to produce what I think is an aesthetically beautiful object.

Laibach

WK7 Abuse And Confession

Lord
Lord
Christ!

You've been
Sacrificed
Crucified
Sanctified
Glorified
Braised

Lord
Lord
God!

You've been
Sacrificed
Bilified
Demonised
Mortified
Shamed

You gave me flesh and blood
And the will and the way
To serve Thee, my Lord
Until Judgement day
It was written in stone
You had a mission to save
Why give me desire
Just to prove I'm depraved?

But were You not tempted, my Lord
When You became flesh?
Did Your desire not rise
At the sound of a woman's breath?

Lord
Lord
Christ!

You've been
Satirised
Sermonised
Scandalised
Terrorised
Cursed

Here I am
Damned
Cursed
Destroyed
It was written in the book
That You must die on the cross
And it was written
That I must betray You
Otherwise man would be lost
Would be lost

What about me?
Don't turn Your back on me

As it was written, so I must do
And this kiss on Your cheek
Proves my love for You

No greater love
Hath no man that I
Who would sacrifice eternity
For one kiss
For humanity
For humanity

Lord
Lord
Christ!

I've been
Satirised
Terrorised
Demonised
Scandalised
Damned

Why me, Lord
Was it because
I was Judas baptised?

Your mission has failed
Your mission has failed
Your mission has failed

You failed the word



The fact that this organised collaberation of people have such strong views that are NOT REAL, NOT SERIOUS, EXTREME and all in all supported, really makes you think. But if you werent to study what they were actually doing it would be hard to understand. Being brought up in a catholic schooling life you know about symbolism, belief, you know about community. But you arent politically voicing your opinion.

It alllows you to question what you have been aware of for many years.
When I watched the film its hard to realise there not being serioius. but they do look strange and kult like. It doesnt look like something i would want to be apart of. Though I would liek to no what they are doing now. They do remind me of nazism and for that fact i kind of turn my face a little. I dont know much about the history, but i think it is interesting to look at in this modern day.

I think more research is necessary for a better argument and awareness of what they are all about.

Wk 6 Public Art as publicity

Public Art as publicity
Miwon Kwon



Firstly I think Public art has become a major part of the community, and even though it may not be as obvious to the eye, it is still there and within the uneducated eye. As an artist it is a great way to do a community project and put some money int the pocket. A lot of public art is commissioned by the government through grants. Giving artists an opportunity to work with members of the community close to the environment in which it is placed.

I think a great example of public art in Australia is Sculpture By the Sea. Even though it doesn't consist of permanent work for the community. It does allow artists to make work specific to the site. It is an enormous area that thousands of viewers encounter every year. Public Art is a great opportunity for emerging artists to be seen and introduced to the art world. I think that sculpture by the sea is a representation of the ideas exerted by John Ahearn's efforts which were 'meant to function as art that is of the people and to some extent by the people, that it represents.' Though the artist does not have any say as to when the art work is taken down, the artist is aware from the start of the exhibition as to when the art work will be removed.

Systems of communication modes of publicity that have helped the way in which public art practices have developed in the U.S

- Authoritarian System of communication - one way, one idea, considered 'evil'

- Paternalistic; Public service, sense of responsibility; More exposed and
vulnerable; problematic of localisation of power and control.

- Commercial- opposed to the first two modes; free market, freedom to publish and read what you choose. New controls based on profitability.

- Democratic mode opposes commercial and state control. Modes are owned by the people who use them.

- New genre public art which is based on participation and collaboration of audience members in the production of the art work, seeking social change

Is the next mode
- Guerilla art?
Has street art been included here somewhere? If the "guerilla act" was in 1983.

An art work that provoked contreversy within the community last year,
as to whether or not it was suitable for the boy to have no clothes on.

Wk 4

LanFranchi's Memorial Discotheque

So on MOnday evening I was able to go and see the premiere of LanFranchi's Memorial Discotheque which is being screened during the Sydney Underground Film Festival. Not knowing much about it before hand I’m killing myself afterwards as during these days I was spending my weekends at Kink, Moulin, Sounds and Yu. When really I could have been spending my weekends in a much more entertaining way! LanFranchi's Memorial Discotheque was a Sydney venue located on the second floor of a Marickville warehouse. It was a home, art studio and performance space for many people from 2003-2007 I think? Memory has gotten the best of me. Any who this artist run space was never able to get any grants and was completely DIY. As Lanfranchis was an unauthorised performance space, there was minimal advertising and ran on word of mouth. Even though the venue had a good 5 years running, the year it was coming to an end a 49 million dollar art centre was being created in redfern, “Carriage Works ”. Carriage works was being built to create a new home for contemporary arts and culture in Sydney.

‘ It was being built on a vision of a vibrant cultural life for our people and artists, it’s a place for creativity and innovation. Where artists are given the opportunity to conceive, develop and present their work in an inspiring and creative atmosphere’



Some of the artists that were previously working and running lanfranchis were finding it difficult to conform into the institutional ways and restrictions of the new venue. So bringing up the question of what money and grants can actually do in effecting work and performances that are being presented “Money means restrictions”
‘Perhaps it was lucky that Lanfrenchis never received a grant, Because the events were dangerous and some one could have died.’ Says the man sitting behind me, who was involved and probably living in the warehouse. ‘ I WAS ATTENDING COFA when I first went to Lanfrenchis I ended up dropping out and moving in.’ The institution isn’t always necessary to be a creative and successful individual.
Where the Sydney morning herald had already dubbed Lanfranchis as a stem to Sydneys cultural Dna What has the institution Such as Carriage works done to effect the art work that is being created?

Wk 3 Institutional Theory of Art

The Institutional Theory of Art
ROBERT J. YANAL

“To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld.”

An individual’s perspective of an artwork is always going to be different to that of the artist. An educated individual’s opinion will also be different to that of an uneducated mind. Though I must say it doesn’t always stop people from having intellectual views upon the art they are viewing. The place in which an artwork or project is placed will also affect reaction, thought and controversy around those who view it. Yes you need an Artworld, though do all need a artistic history to see or create a piece of work?

Once again the topic of Institutional art has been around, mentioned, and discussed throughout Art history. It may have been provoked by controversy due to particular artworks in the past and may be because people are more willing to bring things out into the open arena. It may or may not be discussed due to the documentation and art theory behind it.

Art within the gallery walls has aroused question surrounding particular objects, whether it is art, or just an ordinary everyday subject. Just like Andy Warhol’s Brillo boxes. Today ‘Street Art’ may be reflecting on this by placing concreted objects like phones and televisions in the out- door environment especially within art welcoming societies such as Newtown. Now is this art? Walking along thinking there is an object you could take and pick up, when no you can’t, its stuck! It also creates its own little game, This fun work may be all about games, though have these artists been educated?

“ Utility, Untold ” That is currently being held in the main gallery here at SCA brings many objects from Ceramics, Glass and the Jewellery department. Although the placement or rather displacement of some of the objects affect the aesthetics of the art works them selves. The piece that actually won the glass award, In my opinion looks as though the presentation detracts from the aesthetical elements that are strongly positioned in the work. The flowing piece of glass seems as though it is meant to provoke soft flowing aesthetics though the chunky square, thick wood holding it up and becoming part of the works opposes this thought. The base in which it is placed on the wall with, has become part of the artwork displacing the idea that has been originally thought out by the artist.

The Ceramic dress which is next to the glass piece, By the artists conversation before hand is also out of place. The making of the artwork within the studio expressed many other views that have been taken out with the placement within the gallery walls. Would this piece look better and be better understood in an environment such as Newtown? In a dark and dirty little corner?
The artist would much prefer to place it in a darker non institutional position to convey her ideas more aesthetically to the educated and uneducated eye. With words from those within the art world the artist was asked to add something to connect one piece of the work to the other. By adding a piece of material to join the two objects that the work consisted of, in doing so also changing the dynamics. Was this really necessary? Would it have worked better in a different environment without having to add another piece?

Over all the exhibition is all very white!
White walls. White shelves, white everything. Is this going too far?
Or have I just had enough of the gallery? Is this what we perceive the art-world to be? Personally my work is so white! and after attending this exhibition a few times, I’ve definitely seen enough of it. And can’t wait to start developing, what I think are better ways of presenting art within the institution, as well as documenting placement outside of the institution.

AN ARTY PARTY wk2

DOes Art/Culture reflect Society or does ARt CulTure Produce it?





wk 3 Art Culture and Society

' Does Art Culture reflect Society or Does art Culture Produce it? '

The answer is pretty simple Yes Art Culture reflects Society and yes art Culture Produces it. I could leave it that But I would like to bring up music and dance as a relational aesthetic art form. When a small society in South Africa produces music faster and faster because they want to dance faster to it. As the society and audience join in they battle against each other creating more intense and athletic moves.

If there was no music , the audience wouldn't be dancing and improving their skills and ability. And if there was no dance the thought to make the music faster may never occur. There would also be lack of community.

The dance and music culture is a reflection of the society as well as the art form. The art Culture may have well as also produced this small society. One that will create discussion between the dancers and the muso's as well as the spectaters.

From living in Calgary, Ab for the past 8 months I was able to view life from another point of view. As Calgary is an oil community, there is minimum art within the society, and if there is much at all its hidden or hard to find. Though on the other hand tattoo's and piercing covered the majority of the people to be seen?

Is the lack of art in the community resulting in more body art? And more perminant works in the art community.

-------------------------------------------------------------------------------------
Arty Party - Hal Foster

" To some readers such 'Relational Aesthetics will sound like a truly final end to art to be celebrated or decried"

I'm not sure if I'm yet to understand fully about Relational Aesthetics, but this comment in the article by Hal Forster, Just makes me think its a money making scheme and the necessity of the topic or genre could be questioned.
As I disagree it couldn't possibly put an end to art to be celebrated or decried.
The comment makes you want to argue your thoughts, though maybe the entire article is misunderstood just like relational aesthetics. Its just making us look at everyday objects in another manner, and I think yes it has all been done before.

Relational Aesthetics wk1

http://www.thephonorealistes.com/

Relational Aesthetics - Nicolas Bourriaud
Participation and transivity - an introduction to relational aesthetics.

'Is it Sculpture? An installation? A performance? An example of social Activism?'

Relational Aesthetics tends to make you question how you view an artwork and how you have viewed one in the past. The first thing I want to do when I see an artwork/Object or Sculpture, that Im interested in, Is the want to touch it. But of coarse in a gallery space thats a big No. Therefore works enticing the viewer to do so, the work automatically becomes attractive to the naked eye, even though you may question what the hell it is in the first place whether it is art or not. The relationship between the viewer and the work now extend to another level, a connection is drawn and now you think differently about it. To question whether it is or isn't art brings attention to the educated and uneducated eye. I say yes, yes it is. Though you say No. Its a never ending game of ping pong.

'Delacroix wrote in his diary that a successful picture "condensed" an emotion that it was the duty of the beholders eye to bring it to life.' This idea of transitivity introduces into the aesthetic arena that formal disorder which is inherent to dialogue.' Participating in an action encourages the audience to think further into the idea of an artwork, allowing one to search for the emotion, and each to there own. The relational aesthetics song is right to say you cant be wrong when you discuss the topic and propose your point of view. I wanted to use this art work as an introduction, For how you feel coming back to reality when you've been out of it for too long. As the artists sings she wants you to sing along whether you know the words or not. Is it an artwork if your singing along with her? Do you know what she is talking about? Do you think its boring. Do you think its not art? Whether it is or not, your now thinking about the relationship between the singer, song, art and yourself.

Your Always taught to question an artwork. What makes Relational Aesthetics any different? You may not have been aware of it until now or until the words have been placed in front of you, but its always been in the history books, pivotal in the 60's and 70's and the 90's. The question 'What is art'? Is dawned upon you in high school. And your left to think that art is what you make of it, all to there own decision and perspective. Though the boundaries have already been broadened the focus is on the experience and social activity.

'Meetings, encounters, events, various types of collaboration between people, games, festivals and places of conviviality, in a words all manner encounter and relational invention thus represent, today, aesthetic objects likely to be looked at as such.'


' If you were offered a tea cup, tea and a bikie, would you say yes, if the tea cup had holes in it? '

'Would you consider

'a naked slip and slide an artwork?' A community/group/strangers getting together to play and slide in the mud while at a music and arts festival. You can join in or just watch, I guess its what you make of it.

or

'Drinking a bottle of wine.' Not realising until its been casted in plaster and remade in porcelain, that words inscribed on the bottle is the documentation of the words you whispered when you were blind.
Where did the art work begin?