Thursday, May 26, 2016
During the meeting with Anya and Michael we discuss:
1-To start working with the RDC2 or Chapter 1.
- An overview of my work in a context frame, waving context with aspects of my own practice; find people who are related but differently;
- How can my work could be put into a dialogue with other artists and/or theorists.
Suggestion: to write 5 ideas of each one of my social sculptures pieces, to look at every video and come up with 5 sentences.
2- To write, write and write. Prepare a text with the ideas for my Berlin presentation.
3- Interview: As per my coming last meeting with Camila, Caroline and Eileen: to prepare few questions for them to answer and to ask them to prepare questions for me to answer.
4-TI set of instructions: giving the instructions back to them? Think what can I do with them.
Wednesday, May 18, 2016
List of Instructions.
1- Take a book at random from your own bookshelf; open it at random and then read two successive sentences and enact - in public or private (up to you) them as you can. Dr Andrew
2- Please act creatively on what you consider to be the most pressing issue of our time. Dr David Haley
3- COOK ONE MEAL TO BE SERVED ON ONE PLATE TO BE SHARED BY ALL FROM THE SINGLE PLATE. Konjit Seyoum
4- Add a chalk board and chalk into the sculpture so the audience is invited to participate. Susan Strauss
5- Take a bath. Linda Montano
6- Reach up to the skies with both arms as if seeking the reasons for cruelty in the world. Dana Zurzolo
7- Rotate the axis of the main component just enough to support the weight of the piece over it. Arnaldo Roman
8- Touch your index finger on your right hand to your tongue, then your middle finger, your ring finger, then your pinky. One by one. Twice. Then grin.
Teddy bear teddy bear turn around.
Teddy bear teddy bear touch the ground.
Teddy bear teddy bear go upstairs.
Teddy bear teddy bear say your prayers.
9- Please explain to me a little bit more about what you're looking for, are you looking to make something physical, or do something? Anne Labovitz
10- Sit and meditate for two minutes. Christopher Danowski
11- Boop the void. Mary Morgan
12- I would request that you make a batch of cookies( your choice) and take them to share with a friend, enemy or a neighbor. Gwen Charles
13- Choose two books, open them on a page, place them side by side. Ruth Novaczek
14- Make a comment about everyone's smell--- I'm sure that would say some interesting things about social interaction based on physical proximity and how we perceive one another non physically. Allison Geremia
15- Spend one year building trust with a community you are a stranger to. Dorit Cypis
16- "Be still and know that I am God.” (from psalm 46:10). Curt Cloninger
17- Take fifteen steps forward in the middle of a busy park and turn around and ask the first person you see to tell you what you are all about.
Jaye. Alison Moscariello
18- Is it performance with just your body - or are you using materials? Claire Elizabeth Barrat
19- Asking for 1 sentence from everyone on that list is, obviously, a logical approach to this idea: hope you can go with the flow of what develops, in whatever direction it goes.
all the best from berlin, where the weather is changing every few minutes, as is so often the case. Deborah S. Phillips
20- Make sure it catches and reflects the light in places. Paula Billups
21- Stand still, look around, choose a "watcher" 's eye, walk in an even pass with no facial expression towards them so close it could feel like you touch each others nose and then walk backwards to the place where you came from.
22- Do an elvis impersonation. Andrea Spaziani
Monday, May 16, 2016
Two women of different generations--the older woman is the artist (myself), and the younger woman is a high school student- are acting and reacting to one another and also to an object. They are uncertain about what movement they will make next. Their performance in this social sculpture piece is focused on their interactions with any item of their choosing from my studio. In this case, the student chose a plastic sheet. They are acting spontaneously, but they trust one another’s actions and in their own decisions. The piece develops based on this relationship. During this process nothing is pre established except the choice of the material, the space and the camera’s point of view. These two women establish a dialogue that has no beginning or end. The points of departure for the dialogue are the ideas that the participants simply need to make it through to the end of the performance and that they need to do so while being aware that they are being filmed. It is a dialogue full of uncertainties, and one that is perhaps guided by the participants’ gender and the generation gap between them.
This piece writes itself during those minutes and in that particular space through the manipulation of the simple material and our own bodies in a spontaneous process in which the bodies move as a reaction of themselves and the material and vice versa.
On the video the sound creates another space, an autonomous space that situates the spectator inside the piece. The space created between the images and the sound is now where the spectator is located, centralizing him/her making her/him part of it.
Dos mujeres de diferentes generaciones actuando y reaccionando una de la otra y las dos con respecto al material con la incertidumbre del próximo movimiento, dejándose llevar de manera espontanea, creyendo en el acto de la otra y en el de una misma. En esta relación se escribe la obra contemporáneamente con su desarrollo. Durante el proceso en el que nada se ha pre establecido solo la elección del material, el espacio y la posición de la cámara, estas dos mujeres establecen un dialogo sin principio ni fin un dialogo que parte de la supervivencia de pasar ese momento y dejarlo registrado en una cámara, un dialogo lleno de incertidumbres guiadas por nuestro genero y condicionadas por nuestras generaciones.
El desarrollo de esta serie de esculturas sociales se enfoca en el proceso de descubrimiento de un material simple, como es en este caso el plástico y en lo que este nos pide hacer.
Esta obra se auto escribe a través de esos minutos y ese espacio en particular durante la manipulación del material y nuestros propios cuerpos en un proceso espontaneo en el que el cuerpo se mueve como una reacción al material y viceversa.
El sonido crea en el producto (el video), otro espacio, un espacio autónomo que sitúa al espectador dentro de la obra. Es decir: el espacio creado entre lo que se ve y se oye interpone al espectador, centrándolo, haciéndolo parte de.