Well, it will be once the other artists de-install their work.
Our trace has been removed, possession of the space made public once more!
Archive for May, 2012
The notion of the neutrality of the white walls and us as the artists challenging this gallery logic, marking it just with our presence was initially very intriguing. However having seen the video of the singing performance ‘Concert: The Lesson on Dis-consent’, we added to the mark making, therefore increasing the audiences curiosity and perception of our behaviour.
As you can see from the aftermath, we marked the white walls around the viewers and the artists’ work, claiming the negative space to be our own. Making the public space, private, in a sense by occupation, and also with the chalk and fluorescent post-it strip marks.
I believe we challenged the gallery logic and in doing so, may have managed to raise a few eyebrows! However maybe by just observing as watchers within the space, we could have achieved the same results.
We observed, we invaded, we interacted and we marked!
Our presence was certainly noticed and definitely bewildered some.
I thought I was out of my comfort zone, but having spent some time performing I found myself really absorbing the surroundings. A sense of merger with the negative space especially in the darkly lit room.
These negative space sculptures were created by artist Yasuaki Oishi. They are made of translucent plastic sheets and hot black glue to create a monumental sculpture that looks as if it’s floating in space. The artist stacks up a pile of cardboard boxes drapes the plastic sheeting over the scaffolding of boxes and then drips thousands of stands of hot black glue from the ceiling so that the sheet stays in place
Plastic that fills the negative space in a gallery
Posted: May 13, 2012 by christiannaw in Uncategorized
There’s a Thing Which I Can’t Remember, But I Feel Exactly Like That Now – An Exhibition by the Randomroutines.
Posted: May 13, 2012 by FaridaB in UncategorizedTalk about occupying space!
Artists: Tamas Kaszas, Krisztian Kristof, Ninni Wager.
Fase, Four Movements to the Music of Steve Reich
Posted: May 13, 2012 by christiannaw in Uncategorized
A new space opens this summer, the underground oil tanks at Tate Modern, a space dedicated to performance art, ranging from public debate, live art, installations and dance. One of the first projects will feature the Choreographer Anne Teresa De Keersmaeker adapting a minimalist dance work she first performed in 1982 called Fase: Four Movements to the Music of Steve Reich. A beautiful piece using shadows to dance with.
This performance happened a few years ago in London, there was also a gaint elephant that walked the streets, it was beautiful.
This performance was recorded at the Staatliche Kunsthalle Baden-Baden on October 28, 2011.
This piece continues the series of musicals (songspiels) written and produced by Chto Delat and composed by Mikhail Krutik over the past three years.
The occasion for this latest work was the Chto Delat solo show at the Staatliche Kunsthalle Baden-Baden. We could not pass up this opportunity to engage in dialogue with the legacy of Bertolt Brecht, who premiered two works,Mahagonny-Songspiel (1927) and The Baden-Baden Lesson on Consent (1929), at the new German chamber music festival in this same city. We wanted to produce a new piece in direct dialogue and debate with the work of this great master.
The piece is based on a critical reading of a number of texts produced by the anti-psychiatry movement, which emerged in the late sixties and early seventies in the Europe and US, especially those of the well-known Socialist Patients’ Collective in Heidelberg. In our performance, a “chorus of patients” that has been invited to appear at the exhibition opening becomes engaged in dialogue with the audience.
It is also noteworthy that Baden-Baden is a city with deep historical ties to Russia, and even today it is frequented by members of the Russian elite, who go there to relax and seek medical treatment. We thought it important to critically reflect this state of affairs: thus, one of the characters in our performance is a “typical” Russian businessman, who argues with the chorus and voices the values of this new class.
Our work critiques the modern concept of a healthy lifestyle and discusses how we might radicalize it and “turn illness into a weapon.”
I am not one for performing in front of others. I do not even like talking about my work. So I can only hope that there is safety in numbers. That by working in a group I become anonymous
I like the idea of using the two rooms, 1 light and 1 dark to our advantage. Unified as a group wearing the same colour, we will have a bigger impact on our surroundings and on the viewers. All wearing black in a white lit room, our presence alone marks our space and like the Observers in Fringe will create curiosity within the gallery viewers minds as to why we are there and what we intend to do.
Maybe with torches or any other kind of light ,we could mark our presence in the dark room. I think being dressed completely in black (especially in this room) is somewhat unnerving and maybe a little disconcerting too, as black is generally associated with death and funerals. Going round observing or staring in this room will definitely be confusing or bewildering for others.
I’m not sure how the pin-hole camera works in the dark room, but we’ll leave that with you Maryam to look into.
Look forward to Friday when we role play observing others in a gallery environment!
My Last post was of blue blinding lights, this was called the Breathing Room III which was exhibited in the lower floor of the White Cube. Antony Gormley’s intention with this piece of work was to try and jolt people, even frighten them by suddenly turning on blinding and disorientation white lights as visitors made their way through his work. We as a group may try and do something similar in the dark gallery space doing the exhibition.
Space Within 