FORCED COLLABORATION
30works30days-SUBMISSIONS
FAIRYS & MONSTERS
TRITTICO
DREAM ABSTRACTION
MICROSCAPE
PANE E OLIO
ENTWINED
EXHIBITIONS
PHOTOGRAPHY
DRAWINGS
ABOUT
CV
CONTACT
Day 29
"Day 29' (2020)
Ignoring today's brief: ‘Make a commitment'
Materials: Screenshot of notes document
VALERIA MEDICI
VALERIA MEDICI
VALERIA MEDICI
VALERIA MEDICI
VALERIA MEDICI
VALERIA MEDICI
WOMBENHOOD
VISUAL RESEARCH
ZINE 003
FORCED COLLABORATION
30works30day
LOST FAIRY
TRITTICO
DREAM ABSTRACTION
MICROSCAPE
PANE E OLIO
ENTWINED
EXHIBITIONS
PHOTOGRAPHY
DRAWINGS
FILMS
COMMISSIONS FINE ART PHOTOGRAPHY
ABOUT
CV
CONTACT
VISUAL RESEARCH
A digital sketchbook/notebook
This page is a way to archive online based research during the third academic year in the BA Fine Art course.
Being a visual learner I prefer to have an image-based link for my memory to connect concepts and content.
It can also be seen as an online sketchbook.
7th August 2020
RESEARCHING TERMS
- UNCANNY
- DEFINING TERM COLLABORATION IN ART PRACTICE
The methodology of research
Chronology of links and web pages that brought
me to the daily read
25th August 2020
RESEARCHING TERM
UNEXPECTED
UNCANNY
THE UNCANNY AS AN AESTHETIC DISCOURSE
"It is only rarely that a psychoanalyst feels impelled to investigate the subject of aesthetics even when aesthetics is understood to mean not merely the theory of beauty, but the theory of the qualities of feeling." (Freud 1991,1)
Unheimlich; sotto | Valeria Medici | 24th August 2020
7th September 2020
RESEARCHING TERM
MEDIUM
MEDIUM
The material(s) used to make an artwork.
The substances to mix pigments.
This one here is a pertinent quote for my own practice. Ever since I've started my research (2018) I wanted to eliminate the viewer in search for a more intimate a human connection between what I made and who was there before it. Interaction can happen if there is an understanding between the two parts. How can there be an understanding if there is no clear message in the so-called 'artwork"? Isn't this the main issue of contemporary art? The impossibility to read its aims, the purpose of the piece? I'm not interested in the celebration and admiration of my ego. I crave connectivity and social change.
15th September 2020
RESEARCHING TERM
DIALOGICAL
DIALOGICAL
'(...) the dialogic emphasis on experimentation and exploration of meaning through talks seems cogent.'
(09:53)
'(...) dialogic perspectives on learning offer a provocative theoretical disruption. It challenges the assumption of learning as an atomized individualized event which occurs within the individual. It instead situates thought and understanding as something that emerges in the spaces in between individuals. When they are allowed to engage in open and supportive exploratory dialogue. In this sense, a seemingly contained teaching practices bring with them implications which productively trouble some of our core assumptions in Wester educational practice.'
(10:14)
DIALOGICAL
'(...) more productive talk that which is dialogic or exploratory, characterised by an open endedness, it's one in which participants actively co-construct meaning by attending to the detail of arguments without an overwhelming concern with reaching a given endpoint. And in doing so to master the particular language embedded logics of their domains of study.'
(08:42)
30th September 2020
Research
ETHONOGRAPHER - Hal Foster | recommended by A. Hewitt
Reading for The Project about menstrual cycle
9th October 2020 | Art Practice research
Hills, M.
9th Nov 2020 | Adobe Illustrator_first attempt
Learn Adobe Illustrator to make Wombenhoods' logo
Starting with the easy tutorials
After the Leaf and the camera shape's tutorials I had a go at attempting the first Wombenhood's logo prototype.
And here it is, the logo prototype with a few variations. It needs to be approved by the group ;)
10th Nov 2020 | How to maximase productivity and arrange work for Wombenhood | Trello
My struggle is to create a clear and easy to navigate the way to work on specific tastes especially now that I am collaborating with many people on Wombenhood.
Rhianne has suggested looking at Trello. So here we go.
Day one on Trello. Let's see how is this going to work for us. It does seems promising. Certainly without the tutorials I would be seriously lost
16th Nov 2020
Allan Kaprow
The instructions to make an Happening.
Isn't that curious and somewhat paradoxical that there is an exhibition in an art gallery of Allan's Happenings, specifically designed to happen only once, not in a gallery space, connected to everyday life?
https://www.instagram.com/p/CBKpZAbHwe7/
Antony Gormley: Field for the British Isles
16 November 2019 - 8 March 2020
'Having a conversation through touch with the maker'
'In this work, every piece is a value because it is absolutely distinct. Within the trajectory of each person's making, every work is a particular moment, a particular time, a particular touch.'
'People come with their own interpretation, with their own projéct another form of collaboration.'
[His studio] 'It's a collective creative community. The making of Field was the first and maybe most clear expression of a longing for sculpture (..) to be a participatory activity.'
https://artscouncilcollection.org.uk/exhibition/antony-gormley-field-british-isles
21st Dec 2020
Defining Dialogical art
Grant Kester Delivers the Keynote Adress @ the Art of Collaboration Symposium - Part 1
October 22-23, 2009 at the UC Santa Cruz Digital Arts Research Center
What is dialogical art | See Kester’s youtube video: (9:44) Space name Dialogue. This definition is perfect!!!!!
QUOTE
“The center’s name is Dialogue (DIAA_Dialogue Interactive Artists Association in Kopaweda) which reflects a key component of their creative philosophy. While their projects often takes physical form, usually spaces is related to collective activities like children’s play or water collection, they are equally concerned with the processes of reciprocal learning generated in the planning and creation of these spaces, as well as the form of social interactions catalyzed by their subsequent use.’
Grant Kester Delivers the Keynote Adress @ the Art of Collaboration Symposium - Part 1, (2009) at the UC Santa Cruz Digital Arts Research Center. (09:44) https://www.youtube.com/watch?v=cwioJXc_8_o&t=139s
QUOTE
“(..) after finishing Conversation Pieces (2004) it seemed as if there was an increasing interest in art in collaborative, participatory, collective art practice and it was a curious phenomenon to me and I wanted to figure out why there were so many people working in this manner, what was the significance of this bot in term of art practice but also maybe the broader political significant of the fact that especially a younger generation of artists over the last 10 or 15 (2014/2019) years has increasingly turned to working in groups in one form or the other.“
Grant Kester Delivers the Keynote Adress @ the Art of Collaboration Symposium - Part 1, (2009) at the UC Santa Cruz Digital Arts Research Center. (01:04) https://www.youtube.com/watch?v=cwioJXc_8_o&t=139s
What is social engagement?
What is this branch of socially engaged art practice I am interested in?
If there is not enough material and artists to mention, it shows there is space in developing dialogical social practice.
The reared need to say that he now understands what the dialogue in art is.
Dialogical; Discourse is the artwork. Is the process.
TERM: Process-oriented art practice
(http://www.dialoguebastar.com/correspondence-between-grant-kester-and-navjot-2008.html)
23rd Dec 2020
Researching dialogical
dialogical artist_ Stephen Willats and Control Magazine
Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.
Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices.
Control Magazine’s function has always been to provide a resource for artists to discuss their work and, in particular, to make connections with other disciplines such as social or computer sciences, technology etc. Its eighteen issues provide a unique record of a specific area of art practice over four decades and this non-profit making publication has had an acknowledged influence on the practice of artists.
https://www.victoria-miro.com/artists/11-stephen-willats/works/image2953/
Could it be that I am looking at how do people see menstrual cycles and how o menstruals see themselves in relation to the menstrual cycle they embody?
This is my attempt to present the dialogical exchange I am initiating through Wombenhood in a diagram of physical form. (Dec 2020)
Stephen Willats - Extending The Meaning In Art: A Basis For Operation (1976)
24th Feb 2021
Political or Politicized?
Understanding the difference between terminology to locate my social practice.
Today's I've joined a PPRE/ARG meeting and the discussion lead me to research and start to grasp a few questions on my social practice.
HOW is my practice political?
WHERE is my practice political?
The difference between political and politicized.
This is more thought, a sensation than a certainty. As an emerging artist, I perceive my lack of knowledge on the subject and I am even more saddened that I was never fully introduced to this concept in my three years in university.
Every subject is political Not in the sense of right and left wings of politicians, conservative, or labour. But in a deeper sense. My interest is an art that can bring societal change. For this to happen it has to be inevitably linked to politics.
When artists working in local communities, in schools, when projects are focused on ecology, climate change, global warming, issues linked with poverty and so on, this is politically charged. I feel there is a failure in acknowledging this reality as if art has to be parted from politics. Which I fear is contributing to the alineation of art from society by this misidentification of the values of art. This concept is not peer-reviewed, it isn't linked as yet with any theories of social practice. It emerges from my own experience in leading a collaboration based on dialogue, using making processes to impromptu and initiate the conversation on the societal taboo of menstruality. This question has also largely taken form after today's conversation at Re-Imagining Citizenship.
'What's the difference between Political (capital p) and political? = Political VS political"
'What's the difference between Political and Politicized approaches (in art practice in my instance)?"
"What's the difference between left/right-wing politics and politicised art?"
As Gillian Whitely rightly expressed, there are a few questions I should ask myself as a social practitioner:
1. How is my art political?
2. Where do I operate for this art to be/become political? Where do I work as an artist (inside/outside institutions, elsewhere?)
3. What does the art practice do?
245th Feb 2021
Brutal Aesthetic
Hal Foster - Kent Minturn - Eleanor Nairne (Barbican) - David-Peter Corbett
https://www.barbican.org.uk/whats-on/event/jean-dubuffet-brutal-beauty
read more about Jacques Derrida
2nd March 2021
Group Critique Stefan Gant
http://www.artnet.com/artists/jane-lee/solid-turn-liquid-a-9gV783JNQfJge6T4gBhrow2
4th March 2021
Artists Research
CECILIA VICUÑA
Kon Kon (2010), film
The film by Cecilia Vicuña is about the connection with the sea and the land and she also talks about menstrual blood being a part of nature itself.
https://americanart.si.edu/events/women-filmmakers-festival/2021#cecilia-vicu%C3%B1a-91152
Film to be watched.
Also available on Vimeo at £0.80 for 1 week streaming period
https://vimeo.com/ondemand/konkon/150491675
Particular comparison and possible strong connection between the sea tide and the menstrual cycle as the red tide.
An event I think I will book: https://art-earth.org.uk/high-water/?fbclid=IwAR29eXflkE7aUM3lxaxbBNXc9j_CdZhgmpQVXsGVaMWQPXbI6HjoBk23i-U
1:1 Tutorial Michelle Keegan_4th Mar 11:00 - 11:45
Q/1
How do I want the audience to feel? (while in the gallery space before the work installed)
Point/2
Some people by hearing the word menstruation run away. I might have to allow, provide a private space where to listen to the conversations.
Point/3
The install can happen in 2 different spaces: a space for the display of the knickers, and the space for watching the videos of the conversation.
---
Professor Julie Fish DMU
Health inequalities
https://www.dmu.ac.uk/about-dmu/academic-staff/health-and-life-sciences/julie-fish/julie-fish.aspx
Zoe Backman
She used tied knickers embroidery bodily stuff. Her displays are interesting
https://www.zoebuckman.com/work/every-curve-art/
Mark Dion= museum quality of archive
https://www.tate.org.uk/art/artists/mark-dion-2789
V&A_Ran from 16 April 2016 to 12 March 2017
Undressed: A Brief History of Underwear
https://www.vam.ac.uk/exhibitions/undressed-a-brief-history-of-underwear
Cataloguing
Jillian Dickson_ depicts the reality of women’s underwear
Elon university Indiana (USA)
https://hifructose.com/2017/03/29/jillian-dickson-depicts-the-reality-of-womens-underwear/
My Flannel Knickers
October 30 - December 5, 2020, Sargent’s Daughters
Interesting display
https://www.sargentsdaughters.com/my-flannel-knickers
The V&A’s New Exhibition Is Showing Our Knickers, OLIVIA MARKS
https://www.refinery29.com/en-gb/victoria-albert-museum-underwear-exhibition
Museum- display- intimacy - how do I want the viewer to feel? How do I make the viewer experience the work? I
6th March 2021
Archives and Identities Workshop by Jaseleen Kaur
SOUTH LONDON GALLERY
Ingrid Pollard: http://www.ingridpollard.com/
Alexis Pauline Gumbs, Seek the Roots: https://cms.library.wisc.edu/gwslibrarian/wp-content/uploads/sites/26/2015/05/SeekTheRoots_Gumbs.pdf
Hannah: https://djurdjura.bandcamp.com/
Emma Akinlusi’s
Unfettered archives
Unloop past stories like uncoiling tape
Digitised tapestries neatly hide unseamly edges
Greyed out images appear resolute and uncanny
A thirty year anniversary
Memorialises a memory
A life time ago a dear life ended too early
Proclivities for creativity, writing and dramaturgy
Undusted for unfurling by the many
A man of both science and religion
Imbibing his own renaissance story
A biography which has an ending is a misnomer
The findings are spun out,
unfettered and continue beyond oblivion
As a stone ricochets over water
Jaseleen Kaur: https://claireratinon.substack.com/p/i-dont-belong-here
Erica Scourti, who uses text utilising twitter, phone etc.,
Diasphora
Erica Scourti, who uses text utilising twitter, phone etc.,
“Compulsion to the backwards”
Question for the rooms
what’s the role of creative practice in archiving, the role of fictioning or queering the archive
Podcast on participatory art https://open.spotify.com/episode/1B3JI0Wx2nZFbMTYNRB6JQ?si=2dPtskP0TB6ulc4TFYW7vA&nd=1
Ideas:
“Home as archive as reflections of you”
“Films as archives of reflecting us”
Horizontal hierarchy is a wonderful way to agitate the order of a gallery space.
Jugalbandi, Alia Syed + Jasleen Kaur
https://transitarts.co.uk/wp-content/uploads/2021/02/DOWSER-Issue-3-%E2%80%93-Digital.pdf
Jugalbandi, Alia Syed + Jasleen Kaur
Gail Lewis Birthing Racial Difference
https://www.mamsie.bbk.ac.uk/articles/10.16995/sim.112/
Alia’s film
https://www.bbc.co.uk/programmes/articles/133Tg4Y24cYs7zZMHKNT94/points-of-departure-by-alia-syed
11th March 2021
1:1 Tutorial_Craig_ART 4013_11th March 2021
30th March 2021
Thinking about installing Wombenhood.
Documentation Wall
Stephen Willats speaks about his exhibition at Galerie Thomas Schulte, February 2018
https://www.youtube.com/watch?v=8rVN5HR-I14
Very interesting usage of arrows drawn on the walls with a pencil. Is this a quick and effective usage of lines? Why do I need fabric to create hexagonal shapes? I do adopt sketching and drawing in my practice much more than I adopt textile-based or physical installations. It seems a much more relevant medium than fabric or strings.
Pablo Helguera_Education for Socielly Engaged Art
This is exactly where I am at in my evolving practice.
Tania Bruguera and Tate Neighbours – The Art of Social Change | Tate Exchange
https://www.youtube.com/watch?v=9TI9QSAs9gs
In their instance, the collection of people's responses was handwritten in pieces of a huge puzzle which I assume will have then be united.
It is possible that the way I am adopting the hexagons is serving a very similar purpose: to unite participant's responses in a meaningful shape and overall united cluster.
31st March 2021
Researching Documentary short videos of artists introducing their practice and work
Mona Hatoum: Terra Infirma
https://www.youtube.com/watch?v=H-xKU_v6Qc4&list=PLMJcbVCnLD4o3ko6XeSzDncl7nmxZmBLI&index=29
Duration: 00:05:39
- The artist show in a classic interview setting and is the only one talking throughout the video.
- She talks while in the gallery space with her installation behind her.
- Shots of the exhibition and the public.
- Shots of each artwork she talks about as she speaks.
- Her selecting and unpacking some artefacts in the installation process.
- Detail of the curatorial stage with the artist and (assumingly) curator handling and positioning smaller versions of the works in a 3D maquette.
- Establishing shot of the gallery space and surrealist exhibition the Moana refers to.
-Ambient noises come from the interview and the gallery space too.
Audio Transcript click to view
Stephen Willats Endless exhibition
speaks about his exhibition at Galerie Thomas Schulte, February 2018
https://www.youtube.com/watch?v=8rVN5HR-I14
Duration: 00:08:13
- The artist doesn't show in the video although he's the only speaker.
- The exhibition is filmed with no audience present.
- The background noises are only from the interview room. NOt from the gallery space.
Audio Transcript click to view
Suzanne Lacy – Silver Action | BMW Tate Live
https://www.youtube.com/watch?v=LMO-o9zZWC0
Duration: 00:03:55
- Establishing shot of the empty gallery space. Transition from columns to the room full of participants (audio from the room full of people).
- Artist's voice over on the room.
-Artist also recorded in a classic interview setting hosted not in the gallery space.
-Shots from the past workshops in seemingly the same room Suzanne is interviewed in.
- Three participants were interviewed in another room made a contribution specifically for the video.
Audio Transcript click to view
Extremely important for me as well. The content or the brief/topic is what is relevant. It is the reason to start creative thinking and making.
Important point. Possibly one to focus on in the future.
This entirely expresses my vision, my practice, my method (!)
A Conversation with Judy Chicago and Suzanne Lacy_2007
https://www.youtube.com/watch?v=stVbdXdDSlE
Duration: 00:05:57
-This can be an interesting way to trim the conversation elements of my video documentary
- This is a two-people-conversation at a conference.
-Images of works and gatherings are edited in with their voices in VO.
Audio Transcript click to view
---
Quotes
"...it was from the beginning of content-based pedagogical method, find your content and select the media that best express that content.
...Very often is content that motivates women whereas, for man, it's usually form or technique." Judy Chicago (3:07)
"I think one of the tenants of feminist art as certainly as I was interested in seeing it develop and tried to practice myself, was that the work needed to address issues of that, people cared about, in a way that people could understand, with the goal of making change." Judy Chicago (5:21)
Judy Chicago – ‘I’m an Artist and a Troublemaker' | TateShots 2017
https://www.youtube.com/watch?v=NlH85Kgdnq0
Duration: 00:06:01
- Interview
Audio Transcript click to view
Judy Chicago on “Womanhouse”
https://www.youtube.com/watch?v=Z9muNnozFGY
Duration: 00:35:54
- Interview on greenscreen_white background.
Audio Transcript click to view
1st April 2021
19th April 2021
Launch of Institution as Praxis in conversation with Pujita Guha, Carolina Rito, Abhijan Toto, Farid Rakun and Bill Balaskas.
Available to stream until 19 May, 7 pm GMT
https://www.ica.art/digital/cinema-3/watch/institution-as-praxis-watch
https://www.ica.art/learning/institution-as-praxis
(24:34-26:17) Farid Rakun: "There is a lot of invisible work that a lot of times is not interesting to share, it's not sexy in any way but it's actually where our work lies in right now. A lot of times even myself I need to be reminded by my friends that this type of logistics, administration, it's not something that is supporting exhibitions or collections [ in museums with collections] or what people understood as artistic practices, but it is actually artistic practice itself. It is in there already. A lot of times even I need to be reminded that much."
Phylosophy_Michel Foucault
As mentioned by Carolina Rito I needed to know something more.
https://www.youtube.com/watch?v=BBJTeNTZtGU
Gerald Raunig
Instituent Practices (2006)
Fleeing, Instituting, Transforming
Translated by Aileen Derieg
As mentioned by Carolina Rito I needed to know something more.
Gerald Raunig
Instituent Practices, No. 2 (2007)
Institutional Critique, Constituent Power, and the Persistence of Instituting
Translated by Aileen Derieg
As mentioned by Carolina Rito I needed to know something more.
http://transform.eipcp.net/transversal/0507/raunig/en.html
DOCUMENTA 15
18ty June - 25th September 2022
Kassel- Germany
Curated by lumbung
https://www.documenta.de/en/documenta-fifteen/#news
Farid Rakun: "There is a lot of invisible work that a lot of times is not interesting to share, it's not sexy in any way but it's actually where our work lies in right now. A lot of times even myself I need to be reminded by my friends that this type of logistics, administration, it's not something that is supporting exhibitions or collections [ in museums with collections] or what people understood as artistic practices, but it is actually artistic practice itself.
Who Are ruangrupa? A Closer Look at Documenta 15’s Artistic Directors
https://www.frieze.com/article/who-are-ruangrupa-closer-look-documenta-15s-artistic-directors
The lumbung concept for documenta fifteen
Statement by ruangrupa from 18 June 2020
https://universes.art/en/documenta/2022/lumbung
We do not consider lumbung merely as a chosen “theme” for documenta fifteen. Instead, it is deeply imbued in ruangrupa’s everyday practice and is a summary of our methods and values thus far.
About ruangrupa
Artist collective, artistic direction of documenta 15
https://universes.art/en/documenta/2022/ruangrupa
ruangrupa website
I can see that the shift in my practice happened in others too. The research of the values of art, collectivism, gatherings, community and unity is a basic human need, though it seems it has been forgotten especially in the Western cultures. In those cultures, communities, cities and neighbours in which one doesn't know the other, in which there is no sense of participation, support network or human connection and interactions.
How did we end up in this space? Since when neighbours don't talk to each other and yet an online space like Wombenhood created a strong bond among a group of people timezones apart from each other?
This need for gaining, rather, re-gaining connection has been speeded up by the pandemic and the forced reclusion. I feel this document fifteen can bring the societal change in institutions of art that is really needed. An infiltration in that structure governed by bureaucratical agency, strict or restricted funds, rigorous aims, outcomes, deadlines, inhuman blocks of boxes to be crossed at completion.
This is the time for neoliberal art practices, for the impalpable, invisible, unorthodox, uncanny, weird, abnormal art practices to emerge and thrive.
Can the funding system also change because of documents fifteen? Can their impact in the institution documents have a wider ripple effect in the policies of institutions of art?
27th March 2021
Notes on Documentation and Authorship
From Pablo Helguera's
'Education for Socially Engaged Art' (PDF)
30th April 2021
Reading list on Abject and Uncanny
Reading list Valeria Medici
Uncanny - Abject
Kristeva, Julia, and Roudiez, Leon S. Powers of Horror : An Essay on Abjection. New York ; Chichester: Columbia UP, 1982. Print.
Caws, Mary Ann., Kuenzli, Rudolf E, and Raaberg, Gwen. Surrealism and Women. Cambridge, Mass. ; London: MIT, 1991. Print.
Sartre, Jean-Paul. The Psychology of Imagination. London: Routledge, 1995. Print.
(This one I haven’t read yet)
Townsend, Chris., Woodman, Francesca, and Woodman, George. Francesca Woodman. London ; New York: Phaidon, 2006. Print.
(I think this one can be useful if you put yourself in the works that you do as a subject. I do that.)
Choucha, Nadia. Surrealism and the Occult. Oxford: Mandrake, 1991. Print.
Abatemarco, Michael. "The Beauty of Difference: Photographer Joel-Peter Witkin." TCA Regional News [Chicago] 2018: TCA Regional News, Oct 19, 2018. Web.
( Joe-Peter Witkin is an artist worth checking. He is very disturbing as he works with cadavers. If it is too strong don’t go down there.)
8th May 2021
Podcasts about SEA
ep33: teaching socially engaged art, preparing the future, with Justin Langlois
https://backtothedrawingboardpodcast.com/ep33/
Socially Engaged Arts and transformation with Madeleine McGirk, ITAC #conversations Onion Talks
https://open.spotify.com/episode/5BgL3c72UDSkVn5TRlm54j?si=oIDG1grBQwiOUjQm_hRySg&nd=1
16th June 2021
PREMIATA DITTA S.a.s. | UnDo.Net
VALORI DI Premiata Ditta
-
il totale dissenso con la definizione canonica di artista, ecco perché l’uso di Premniata Ditta S.a.s.
-
TOPICI: sviluppo di progetti artistici online e offline, sempre basati sul dissenso, la cooperazione e il coinvolgimento, in relazione alle nuove emergenze del sistema culturale italiano.
-
ARTIST: La figura dell’artista e il suo ruolo responsabile e propositivo all’interno della società civile.
L'artista è creatore di “eventi” coordinati tra loro e la realtà circostante, l'opera diventa “operazione” in senso fenomenologico -
AUDIENCE: partecipanti sono “coautori” ,“prosumer”, cioè soggetto e oggetto dell'evento, parte integrante dell'opera, utente attivo contemporaneamente produttore e consumatore.
-
PIATTAFORME:
Premiata Ditta S.a.s
UnDo.Net : piattaforma collettiva in cui sia possibile sperimentare nuovi modi di fare e fruire l’arte, scambiare informazioni, competenze, ruoli, tra diverse realtà culturali. Questo permette la creazione di un “ecosistema” di persone e relazioni auto-generantesi e in continua crescita, creando un vero e proprio "movimento” di addetti al settore che dialoghi con le istituzioni pubbliche sul rapporto problematico tra cultura e politica nel nostro Paese.
-
ASSENZA DEL SITO: É una scelta fatta di proposito?
Links and articles
- http://www.forumartecontemporanea.it/chi-siamo/partecipanti/anna-stuart-tovini-e-vincenzo-chiaranda
- https://www.artribune.com/mostre-evento-arte/premiata-ditta-you-are-here/
Articolo:
Premiata Ditta – 'You are here'
Bologna - 22/03/2018 : 22/03/2018
by artribune.com
https://www.artribune.com/mostre-evento-arte/premiata-ditta-you-are-here/
MAMBO: http://www.mambo-bologna.org/eventi/evento-2451/
Conversation with Vincenzo e Anna
16th June_13:30 GMT
V
ALORI DI Premiata Ditta (ricerca online basata su 'You are here')
-
il totale dissenso con la definizione canonica di artista, ecco perché l’uso di Premiata Ditta S.a.s.
-
TOPICI: sviluppo di progetti artistici online e offline, sempre basati sul dissenso, la cooperazione e il coinvolgimento, in relazione alle nuove emergenze del sistema culturale italiano.
-
ARTISTA: La figura dell’artista e il suo ruolo responsabile e propositivo all’interno della società civile.
L'artista è creatore di “eventi” coordinati tra loro e la realtà circostante, l'opera diventa “operazione” in senso fenomenologico -
AUDIENCE: partecipanti sono “coautori” ,“prosumer”, cioè soggetto e oggetto dell'evento, parte integrante dell'opera, utente attivo contemporaneamente produttore e consumatore.
-
Collaborazione / condivisione / autore
(You are here)
You are here è l'ideazione di una forma di condivisione che riguarda la proprietà di un'opera d'arte, un processo che si realizza grazie al coinvolgimento di un insieme di co-proprietari e al ruolo attivo del museo.
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PIATTAFORME:
Premiata Ditta S.a.s
UnDo.Net : piattaforma collettiva in cui sia possibile sperimentare nuovi modi di fare e fruire l’arte, scambiare informazioni, competenze, ruoli, tra diverse realtà culturali. Questo permette la creazione di un “ecosistema” di persone e relazioni auto-generantesi e in continua crescita, creando un vero e proprio "movimento” di addetti al settore che dialoghi con le istituzioni pubbliche sul rapporto problematico tra cultura e politica nel nostro Paese.
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Articoli su Premiata Ditta
- http://www.forumartecontemporanea.it/chi-siamo/partecipanti/anna-stuart-tovini-e-vincenzo-chiaranda- - https://www.artribune.com/mostre-evento-arte/premiata-ditta-you-are-here/
Note e ricerche scaturite dalla conversazione:
- Lavoro invisibile..
- Progetto di comprarsi dell’isola delle femmine: https://www.balarm.it/news/colletta-per-comprare-isola-delle-femmine-la-pazza-e-vera-idea-di-un-gruppo-di-donne-114913Waves between us_https://www.wavesbetweenus.com/?page_id=5338
Organizzazioni da mandare a Vincenzo e Anna:
- Grand Central Art Center: http://www.grandcentralartcenter.com/
-Filosifia della Scuola di Reggio Emilia di Malaguzzi: https://www.reggiochildren.it/reggio-emilia-approach/valori/
- Dialogical Art On the understanding of conversation as an art practice and the articulation of an emerging one:
https://9bdbefb9-f9bf-4247-a598-e05eba3f11f1.filesusr.com/ugd/2e064f_5807bc67e3754f78ae6aa16098e21849.pdf
- Stephen Willats 'EXPLAIN YOURSELF' (2008) http://www.stephenwillats.com/texts/explain-yourself/
Link condivisi da Premiata Ditta:
- DOCUMENTA FIFTEEN: https://documenta-fifteen.de/en/
-Profiles: Ritratti di cose e persone da un’isola in mezzo all’Atlantico
“Profiles è un ritratto declinato in forma plurale, uno per ciascuna delle persone coinvolte, che intende rovesciare, con la forza di un antidoto, i ‘profili digitali’ che il mercato globale ci assegna trasformandoci unicamente in consumatori. Gli ingredienti di questo ‘antidoto’ messo a punto da Premiata Ditta sono principalmente due: il legame affettivo, che costituisce il versante qualificante della relazione, e il tempo. L’uno è condizione dell’altro.”
-Link sul progetto: https://artslife.com/2020/03/13/profiles-ritratti-di-cose-e-persone-da-unisola-in-mezzo-allatlantico/
I disegni sono in scala 1:1 rispetto alla relata' e raffigurano quella porzione di casa in cui oggetti vengono accumulati nel day-to-day.
I disegni sono molto attenti nella presentazione di ogni singolo oggetto incluso il marchio e l marca.
La comunitá di abitanti dell'isola é molto ristretta e nulla viene gettato via.
14TH NOVEMBER 2021
UOVO RAMPANTE
Ed eccoci di nuovo, portati per qualche ragione alla ricerca dell'uovo.
Paganesimo e Cristianesimo usano l'uovo nella loro simbologia, ovviamente, come simbolo di fertilitá, resurrezione, vita, feconditá. Non c'é proprio da stupirsi.
Bello anche trovarlo come simbolo alchemico e filosofico.
Uovo Filosofico, L'uovo Alchemico.
Link di ricerca: https://ilsalottodellestreghe.forumcommunity.net/?t=51705126
Simbolismo Pagano - Uovo - Parte I
https://www.angolohermes.com/simboli/uovo/Uovo.html
Simbolismo Cristiano - Uovo - Parte II
https://www.angolohermes.com/simboli/uovo/Uovo_2.html
Miattira molto l'idea dell'uovo nellascultura o come elemento ornamentale, come viene citato e visto nel cornicione del sito archeologico di Baalbek in Libano.
Ho un enorme desiderio di costruire in oggetto tridimensionale. Credo che questo esperimento sará portato avanti.
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6th-7th Jan 2022
On Abject and Eggs
Making synthetic eggs
£37.99 - Order PO221776 for:
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PT Flex 20 (castable polyurethane rubber) - $66
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PolyColor pigments
red + yellow + blue + white
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Polytek Platsil FS20 RTV Addition Cure Silicone Rubber Shore A20
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PolyColor pigments white
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PlatSil SIliglass silicone: Polytek Platsil Siliglass Rubber Lhttps://www.mbfg.co.uk/account/order/PO221992/?email=valeriamedici90@hotmail.com
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Silcone pigments £9.99 x many colours - Amazon https://www.amazon.co.uk/dp/B08BCFLN5D?psc=1&smid=A3QR59A7PXJF9C&ref_=chk_typ_imgToDp
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POL-EASE 2500 RELEASE - 13 OZ SPRAY CAN - $15.00 - https://www.brickintheyard.com/products/2500?_pos=1&_sid=2a257486c&_ss=r
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Substitute: Eject-it 33 Petrolease - £15- https://www.mouldlife.net/eject-it-33-petrolease-2133-p.asp
Substitute: MaxWax £10.80 https://www.mouldlife.net/macwax-3856-p.asp
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SUBSTITUTE to PlatSil 71-11 =
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PolyColor pigments
white https://www.brickintheyard.com/products/polycolor?_pos=1&_sid=446107e87&_ss=r
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NOPE I CAN USE CLAY - Mount board: A4
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https://youtu.be/BKkAmazCIkA
Polytek distributors: https://polytek.com/about/polytek-distributors?field_region_value=All
The ad-sil 20 will be self-releasing from your walls, however for extra precaution, you can use Petrolease, MacWax, or MouldWax - most of our release agents will help with barrier layers, these are a few popular options
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Allow to air out before pouring your silicone
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On Abject
Terms:
Sublime and abject
Mostri-mostrare
Melancholy
Beasts
Grotesque
Uncanny
Broken dreams
Maya Gods myths mythology
Abject desire - lust - danger - secrecy
The abject self: self-states of relentless despair
Adams, Kathleen
International journal of group psychotherapy, 2011-07, Vol.61 (3), p.332-364
Kutzbach, Konstanze
The Sublime and the Abject in Albert Serra's Cinema
Quarterly review of film and video, , Vol.ahead-of-print (ahead-of-print), p.1-25
Taylor & Francis:Jisc Collections:Social Science and Humanities Collection:Expanded:2016-2017
Novels of the contemporary extreme
Alain-Philippe Durand; Naomi Mandel 1969- c2006
Slicing through Thin Layers of Humanity: Narratives of the Abject
Zwier, Robin Kanak
Between Abjection and the Abject
Jefferson Virgílio
The Abject Mundanity of Murder
Brower, Jay
Journal of media ethics, 2017-04-03, Vol.32 (2), p.138-139
Like the Skin on Top of Boiled Milk": Allegories of the Abject in Marlene van Niekerk's Novels
Crous, Marius
Journal of literary studies (Pretoria, South Africa), 2016-10-01, Vol.32 (4), p.51-75
Writer Niekerk's Novels:
Triomf
Agaat
Memorandum: A Story with Paintings
Writer Marvell’s “Daphnis and Chloe” 1640
López, María J English studies, 2016-07-03, Vol.97 (5), p.493-509
Devouring Desire: Fear of the Abject in Marvell’sDaphnis and Chloe
Alexander, Laura ANQ (Lexington, Ky.), 2015-01-02, Vol.28 (1), p.23-28
Object or Abject? The Feminine Principle in Bulgakov, Briusov, and Blok
Clark, Elena Pedigo Toronto Slavic quarterly TSQ, 2016, Vol.58
Milk, Blood, Ink: Mansfield's Liquids and the Abject
Diana R. Harris
Journal of New Zealand literature, 2014-01-01 (32), p.52-67
Abject Bodies: The Politics of the Vagina in Brazil and South Africa
Brown, Lisa Beljuli Theoria (Pietermaritzburg), 2009-09-01, Vol.56 (120), p.1-19
Renan Ji Gragoatá, 2011-12-01, Vol.16 (31)
The Abject, the Object, and the Thing
Todd Kesselman
Styles of communication, 2009-11-01, Vol.1 (1), p.1-5
Abject desire: Anatomie de l'enfer and the unwatchable
Grønstad, Asbjørn
Studies in French cinema, 2007-01-01, Vol.6 (3), p.161-169
Mehigan, Joshua
The Sewanee review, 2003-10-01, Vol.111 (4), p.558-558
Gender and the Abject in Sartre
Hedwig Fraunhofer
Gender forum, 2007-04-01 (18), p.N_A
Shrieking, Biting, and Licking
Sarah Stang Press Start, 2018-01-01, Vol.4 (2)
Knust, Jennifer Wright
The Catholic historical review, 2008, Vol.94 (4), p.764-766
Exhibitions of surrealism in the world
http://www.surrealism.gallery/calendar.htm
Ideas for note till new works
‘Abject Bed’ working title 2022 - Video / photo shoot
Close up of the creature excreting the eggs on the bed itself. Liquids and abject fluids mixed with anthropomorphic human legs and kiwi-like bird with feathers and fur.
Variation: we’re in the creature’s nest, partially submersed in water with some human furnitures like a bed (mattress covered in white or cream bedcovers) partially submersed in water. It’s end has a barrier like a culla con le stecche in legno per evitare che le uova escano fuori dalla culla di acqua e materasso. Magari una lampada vicino al letto, che non è sorretto come quello degli uomini, ma direttamente a terra. Una distonia animalesca bestiale, pareti di fango con un dipinto grottesco ma delizioso, qualcosa che la creatura mezza donna mezza kiwi bird potrebbe vedere come sua.
Il costume deve avere un apertura per le braccia. gambe e la vagina umana, magari accentuare la vagina con delle labia maggiore accentuata.
La peluria del corpo tondeggiante della creatura deve essere lucente come quello di un bel cavallo marrone scuro o nerastro. Il ecco lungo e nero come un corvo. E gli occhi grandi e dolci come le foche.
La creatura sta partorendo uova umane, ovuli umani. Farli di gomma trasparente stampando l’interno dell ovulo su un foglio di plastica acetata trasparente e immergerlo in transparent rubber. Come le palle di gomma che saltano fa tutte le parti.
‘Minotauro dormente voyeurismo della donna - female gaze’ 2022 photo
Il Minotauro dorme nella sua grotta, nudo come le belve. Ha il fallo cadente e dormiente sulla coscia. Persefone lo scruta da un angolo, e le piace. Il Minotauro si sveglia sentendo la sua presenza e il suo odore e il suo umore di vogliosa lussuria. Le parla con voce profonda sbuffante di sonno e di naso da toro.
“Vieni” le dice. Non la può vedere Cher he è buio pesto dove sta lei. E la luce del fuoco vicino al Minotauro non gli permette di vederla. Ma lei non lo sa.
Si avvicina al Minotauro e ora è un po’ ansiosa e impaurita. Il Fallo è grande pompato di sangue. Ma il Minotauro non se lo tocca. Non gli da retta. Lo lascia muoversi nelle “folate” di sangue che allargano il pene a suon di battiti del
Cuore e delle viscere.
‘Maya Gods myths mythology’ 2022 photo
Why not to place this anthropomorphic creature in godly frames? On thrones, in front of temples, as an icon to prey and contemplate. Bodily abject, mother of fertility eggs and lust. I see this uncomfortably seated mother o a maya throne, forced in her regal clothing awhile in agony for the birth or the excretion of the eggs. Almost falling down, holding with both harms on the harm rests of the throne. Liquid gargling down making the stone lucid and glossy. Alone.
Human egg cell: https://www.sciencephoto.com/media/478934/view
‘Persefone e il Minotauro’ 2022 erotic story/photo/illustration/etching
Minotauro inclinato a 90grafi con la giovane Persefone sdraiata sulla sua schiena. Gable in su che dondolano come et gioco, mano destra sorregge va sua testa, mano sinistra gioca col cazzo del Minotauro. Le cosce del Minotauro sono tesissime dall’eccitazione, tremanti. Una mano del Minotauro tocca Persefone sotto la gonna.
Male at burrow entrancehttps://nzbirdsonline.org.nz/species/little-spotted-kiwi
Entrnce of kiwi’s nesthttps://nzbirdsonline.org.nz/species/little-spotted-kiwiest
More about Kiwi + video with his call:https://predatorfreenz.org/research/how-well-do-you-really-know-our-kiwi/
14th Jan 2022
MAKING THE SYNTHETIC EGG
