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|[[ bloglife archive ]]|
¶ fifth day here. hope my blog won't become a diary. i want it to be a mixture of impressions, inputs and nonsense. just not to much of a diary. but a blog works as a sort of therapy, like painting and doing sculpture. you need to write it down, you need to feel it as your virtual space - like lukanova once said that tsotso is a little, cozy and intimate space.
sometimes i find personal things really spicey: :you should see me and luka being in the fifth phase of a relationship. the fifth phase of funturism, futurism, new territories and islands of jazz.
exploration in all ways - cause we love it so much.
however, it seems definite that i love museum as a hangout space. here me is being totally romantic, walking in the tate late friday evening and enjoying watching the things passing bye. its not about art. its about a space with different objects, not to many and usually undefinable. non-narrative, many times extremly funny, with glitch and click for your brains and challenging your linear thoughts.
thats why probably i started to study art history - i have always loved museums since my childhood::parents took me mostly in the museums of art production.
its also funny to hear advertisment for an exhibition on a radio just after mobilefone co. the advertisment in andy warholas style. straight and vulgary direct.
it was this and this what i have seen. but better check this - i think it could be more amusing, especially for u frm homebase.
luka also introduced me again wonderfully ful friends - adnan from basel and maria from greece. she lives here now - studiing at - honestly recommended by everyone - goldsmith.
and london is like it used to be - everyday something new.
¶ chart conference
long time no here.
meanwhile writing for a conference about the role of an author, a viewer and an institution.
once again discovering fascinating similarities with basic set of one another mind - conceptualist's in the seventies and lucy lippards writing. she is a zik-zak thinker. missing them; especially at places like academic conferences, about 'computers and art history'. been able to see many ways how to teach, many database managing systems and different ways of retreiving images. but it was all the quest for quantity.
among all - many ways how to look and enjoy but almost no triggers how to think why today is like it is. universities are like monasteries, after pekka himanen. they are not the place for academic origins in the manner of sokrate's dialogue, but a detached islands where only one way of thinking is acceptable, while the worst is that is interelated with corporativist uniformism. questions and clicks have no space.
since i was talking about author, who is encouraged and well articulated in the historical materialism [especially in institutional art history] it was amazingly interesting to be present at the another conference in one of the creative institutions. the talk 'is copyright a good thing?' was properly focusing on 'hit that is going on in the law for copyright. the driving force of criticism was the beaurocratic aparatus as part of corporativist capital, mechanisms of promotion and distribution. it is clear that paranoia is provoked by technology and its soon used-to-be free distribution. at this moment the perspective is much more difused and bizzare as it was, not so long ago - remember the 1995 - when were all optimists and cyber students. but people in sarajevo had other things to do.
i realized the problem of copyright and intellectual property is huge and complex, spreading like a virus in so many different fields.
the gesture of freedom is more important than crying for your idea which is misused at wrong place (be aware of double 'hit, its big trouble). such an ethic gesture demands a mindset of total cooler, of a raver and a hacker. they know it. the other few also. post conceptualist, post-structuralists, post-feminists. and you.
but before it gets better it looks like we won't be able to lean on any kind of tradition. she wont be able to write about lucy lippard. you won't be able to watch video that he bought at my friends house. i wont be able to lend a book to tita.
why not adapt licence system. artist would love licenses like that, but seems they don't really know it, or at least they dont get the advanteges of it.
again a regular story of this blog and her thoughts, his writing and their wish: don't buy what goverments are selling you.
it's getting ridicuolous out there.
has the war already started?
london - rhizomathic core of leftovers.
the women sitting across gave me a magic smile.
everybody's happy right?
¶ still working on my text. already for a while i know one of my favorite art historians - pit schultz. being aware of his quality work. but it has been quite a while since i have read such a text. i am looking forward to revival of techno-utopian rave-driving nineties! (01:46)(comment?)
¶ after a while meeting an old friend again. she is a mate from secondary school working as a chef at the kriket club down the road. it was great drinking coffee with you, evelin.
yesterday: after modest culture gathering at slovene embassy with tinkywinky glasses we were soon off to our ;-) ica to catch a talk on art vs. net. one of the speakers was also our good-for-nothing rachel. it was so warm and cosy talking with her since she is all in the non-linear critical thinking. at the talk they have brought up the importance of the dialogue between institutions and network artists. for a sec! it crossed my mind: uff what a boring and old overheard theme. but slurp! no way. it is not the artis's mourning i hear but actually the same story as i am experiencing but just slightly on another level. yes majority of institutions is far on the other side of the mountain. and yes network and process artists dont have appropriate bouncing canvases. and yes to hear it directly from their tounges should make you think. yes again - institutions should be production and social spaces instead of spaces for untouchable stuff.
aha turner prize does not feature any network artists either. instead there are four dealing with objects and concepts. true, i do like concepts as it is also the tradition of turner prize, but they weren't detailed enough to seek for them among non-atelier artists. however, the work of catherine yass was ulala dizzingly daring. scary and vertigous. trrrrrrrrrrrrr. trnabouts ... and ahh i felt sick. it's edgy perception pirouette.
''for her film 'descent', a camera was lowered to the ground from a crane over a construction site at canary wharf, london, through thick fog. yass adds to the perspectival distortions by screening the film upside down. a related sequence of photographs in lightboxes shot from the top of the building site with a stills camera creates a giddying sense of freefall. buildings disintegrate into abstracted streaks of colour and light as the camera tilts downwards towards the ground. her new work, flight, shown here for the first time, was filmed from a remote controlled model helicopter flying around the roof of broadcasting house, london. by revolving the image, yass simultaneously captures our desire to fly and fear of falling.''
freefall does work.