>>click on the image for the exhibition.
11.12.07
exhibition: 'Catálogo', Pernambuco, Brazil
Some of the pictures from this project is on the parallel exhibition 'Catálogo', from the Brazilian contemporary art magazine 2ptos.
>>click on the image for the exhibition.
>>click on the image for the exhibition.
5.12.07
Ellis Island Photographs,Commissioner of Immigration, 1902-1913
Image: Sherman, Augustus Francis , 1865-1925. [Slovak woman and children.] Digital ID: 418048
Ellis Island Photographs from the Collection of William Williams, Commissioner of Immigration, 1902-1913
Photographs (gelatin silver prints) relating to Ellis Island and immigration into the United States in the early 20th century, ranging from portraits of individual immigrants by Augustus Francis Sherman to views of the Ellis Island facility and its grounds by Edwin Levick and others.
Antoni Muntadas, on translation
>>ON TRANSLATION
>>click here for the project website
is a series of works
exploring issues of
transcription, interpretation,
and translation.
from language to codes
from science to technology
from subjectivity to objectivity
from agreement to war
from private to public
from semiology to cryptology
The role of translation/translators as a visible/invisible fact.
Edition: 6 + PA, Formato 16:9 / DVD projection loop; 16:9 format, Duração / Duration: 7’ 39’’, Dimensões variáveis / Variable dimensions. Cortesia / Courtesy Galeria Filomena Soares, Lisboa
>>click here for the project website
is a series of works
exploring issues of
transcription, interpretation,
and translation.
from language to codes
from science to technology
from subjectivity to objectivity
from agreement to war
from private to public
from semiology to cryptology
The role of translation/translators as a visible/invisible fact.
Edition: 6 + PA, Formato 16:9 / DVD projection loop; 16:9 format, Duração / Duration: 7’ 39’’, Dimensões variáveis / Variable dimensions. Cortesia / Courtesy Galeria Filomena Soares, Lisboa
borderlines, personal stories and experiences from the border countries
>>Borderlines: Personal Stories and Experiences from the Border Countries
15 October – 23 November 2007
BORDERLINES’ is a cross border touring photographic exhibition, archive and hardback publication. The significant collection of recordings and photographs gives voice to people with experience of life along the border. The project includes contributions from Fermanagh, Tyrone, Cavan, Leitrim, Monaghan, Sligo, Donegal, Derry/Londonderry, Armagh, Down and Louth.
‘BORDERLINES’ is part of a wider project examining how we should remember the events connected with the conflict on the island of Ireland. It is a Gallery of Photography project organised in collaboration with Dara Training and Consultancy.
borderlines, visual arts
http://www.borderlines-fr.com
Borderlines consists in the coordination of a series of exhibitions providing emerging artists with the opportunity to meet in various European cities between October 2005 to June 2006. Each exhibition will display together French and foreign artists. At the end of May 2006, the 20 artists will be invited in Strasbourg for working together on the scenography and the setting of the final exhibition.
Borderlines associates different artistic approaches under a common theme, that of the frontier, with a view to laying down the necessary conditions for the broadening of the possibilities of creation and interpretation of art works.
The established collaborations map out a new cross-border cultural network composed of artists, theoreticians, and cultural managers from either institutions, or for-profit and non-profit organizations.
We devised and implemented Borderlines in order to invite young artists as us, to accept a challenge on the European scale, and have a go at our differences. We will call it a success if, thanks to our visual production, we enter into a true dialogue.
4.12.07
letter with information send to the partners in the project collaboration.
Borderlines: Immigrant’s Environments in Social and Technological Art Context.
Keywords:
New media, immigrants, representation, contemporary art, collaborative artwork
Thanks to be part of this project!
I hope we could exchange knowledge, experiences and works during our art experiment.
Aims:
The project aims’ to research artwork that utilises’ digital technology for social and collaborative productions.
In the project I will discuss; how does our new media environment help to develop the production of social art?
I intend to work with a group of immigrants who live in London. And through audiovisual experiments I want to document their own perspective of the city, their “borderline environment”.
For the exhibition, I am looking to create a parallel exhibition in the big show. Using the material produced throw the experiments I will select and edit what will be showed in the ‘parallel exhibition’ with different platforms for translate the project aspect.
You have to:
-Build a blog, and use like a virtual diary for report your own experiences during the project. (You can use image, text, sound, drawing, etc..)
-In the project website you will have your own page with: personal details, link to your blog and videos interviews. In the section “virtual galley” I will post some of the works produced during the project.
- Using your own life and personal experiences in London you have to create an idea about the work that we’re going to produce together. (Equipments? Theme? Media? (digital photography? Painting? Video? Video Installation? Website? Etc.)
Keywords for you can guide your artwork:
Belonging \ Place and/or Space \ Personal geography \ your identity \ your language \ your home \ your social environment \ your country social environment \ etc.
- At January and February I’m going to work with you, during a week, for we can produce our artwork. (*If you want to create during another time or space fell free to put your idea)
Thanks to be part of this new community!
Adriano Casanova.
Keywords:
New media, immigrants, representation, contemporary art, collaborative artwork
Thanks to be part of this project!
I hope we could exchange knowledge, experiences and works during our art experiment.
Aims:
The project aims’ to research artwork that utilises’ digital technology for social and collaborative productions.
In the project I will discuss; how does our new media environment help to develop the production of social art?
I intend to work with a group of immigrants who live in London. And through audiovisual experiments I want to document their own perspective of the city, their “borderline environment”.
For the exhibition, I am looking to create a parallel exhibition in the big show. Using the material produced throw the experiments I will select and edit what will be showed in the ‘parallel exhibition’ with different platforms for translate the project aspect.
You have to:
-Build a blog, and use like a virtual diary for report your own experiences during the project. (You can use image, text, sound, drawing, etc..)
-In the project website you will have your own page with: personal details, link to your blog and videos interviews. In the section “virtual galley” I will post some of the works produced during the project.
- Using your own life and personal experiences in London you have to create an idea about the work that we’re going to produce together. (Equipments? Theme? Media? (digital photography? Painting? Video? Video Installation? Website? Etc.)
Keywords for you can guide your artwork:
Belonging \ Place and/or Space \ Personal geography \ your identity \ your language \ your home \ your social environment \ your country social environment \ etc.
- At January and February I’m going to work with you, during a week, for we can produce our artwork. (*If you want to create during another time or space fell free to put your idea)
Thanks to be part of this new community!
Adriano Casanova.
30.11.07
Internet Map, by Chris Harrison
Internet Map, by Chris Harrison
http://chrisharrison.net/
The Dimes Project provides several excellent data sets that describe the structure of the Internet. Using their most recent city edges data (Feb 2007), I created a set of visualizations that display how cities across the globe are interconnected (by router configuration and not physical backbone). In total, there are 89,344 connections.
The first rendering displays the relative densities of Internet connectivity across the globe. The stronger the contrast, the more connectivity there is. It is immediately obvious, for example, that North America and Europe are considerably more connected than Africa or South America. However, it is important to note that this only reflects density of connections, and not usage - hundreds of people may utilize a single connection in an internet cafe, often the only form of connectivity people have access to in developing nations.
Additionally, three graphs were created that display how the net is connected. I should note this is not the first time graphs like this have been created - I've seen several variations, most being practical in nature (e.g. cable locations, bandwidth). I decided to pursue an aesthetic approach - one more visually intriguing and interesting to explore than useful. The intensity of edge contrast reflects the number of connections between the two points. No country borders or geographic features are shown - the only thing you see is the data. However, it should be fairly easy to orient yourself.
Note: These visualizations use a cylindrical equidistant projection. Point latitudes and longitudes were rounded to the nearest whole number and used in a flat coordinate system. This means that the planetary surface area represented by each point varies, skewing density data (both point and edge)
World Connection Density
World City-to-City Connections
European City-to-City Connections
http://chrisharrison.net/
The Dimes Project provides several excellent data sets that describe the structure of the Internet. Using their most recent city edges data (Feb 2007), I created a set of visualizations that display how cities across the globe are interconnected (by router configuration and not physical backbone). In total, there are 89,344 connections.
The first rendering displays the relative densities of Internet connectivity across the globe. The stronger the contrast, the more connectivity there is. It is immediately obvious, for example, that North America and Europe are considerably more connected than Africa or South America. However, it is important to note that this only reflects density of connections, and not usage - hundreds of people may utilize a single connection in an internet cafe, often the only form of connectivity people have access to in developing nations.
Additionally, three graphs were created that display how the net is connected. I should note this is not the first time graphs like this have been created - I've seen several variations, most being practical in nature (e.g. cable locations, bandwidth). I decided to pursue an aesthetic approach - one more visually intriguing and interesting to explore than useful. The intensity of edge contrast reflects the number of connections between the two points. No country borders or geographic features are shown - the only thing you see is the data. However, it should be fairly easy to orient yourself.
Note: These visualizations use a cylindrical equidistant projection. Point latitudes and longitudes were rounded to the nearest whole number and used in a flat coordinate system. This means that the planetary surface area represented by each point varies, skewing density data (both point and edge)
World Connection Density
World City-to-City Connections
European City-to-City Connections
17.11.07
project`s website online!
the website is still under maintenance , but its online now!
i`ll develop the content more during the month.
enjoy!
15.11.07
Borderlines: Immigrant’s Environments in Social and Technological Art Context.
1. Working Title
Borderlines: Immigrant’s Environments in Social and Technological Art Context.
2. Keywords:
New media, immigrants, representation, video installation, contemporary art, collaborative artwork
3. Aims:
The project aims’ to research artwork that utilises’ digital technology for social and collaborative productions.
In the project I will discuss; how does our new media environment help to develop the production of social art?
I intend to work with a group of five immigrants who live in London. And through audiovisual experiments I want to document their own perspective of the city, their “borderline environment”.
I want to create an art piece that uses this social network as part of its’ process. I aim to discuss and find relevant arguments to act as a catalyst for the formulation of new perspectives. How can we produce art using the knowledge of our new media environment to raise awareness of political and social issues?
The project will investigate the concept of ‘borderlines’ in our global society, looking the result in a contemporary art context.
The work will be made with a social group, and I aim to produce a video installation, website, catalogue and an exhibition, all materials based upon this process.
I will research the social groups’ relationship between their identity and language, and how this is affected by a global city. I aim to contextualise my research with contemporary artists’ and theorists’.
I will use digital technology to document the interactions’ between the group. I intend to combine video, natural sound and photography to create a final piece that is a documentation of these interactions.
4. Objectives:
• Create an art piece that uses’ digital technology and translates’ the research results’ of the social aspects collected through the project process (by interviews, pictures, videos sound etc.)
• Document and research how a certain group of immigrants live in London? And how their lives change this global society?
• Research artworks that use new medias technology for the creation of discussion between the contemporary society and political issues.
• Build a website to publish the documentation of the project.
• Create a catalogue, which will be published for the exhibition opening, with images of the project process and critical texts about the project concepts.
5. Rationale
In the project “Borderlines: Immigrant’s Environments in Social and Technological Art Context” I will research and investigate different concepts with an intention to analyze the relationship between the new media art context and social environments.
I will investigate how the concept of “borderlines” and “environments” connect to our contemporary society, from a social and political perspective using the experience of five immigrants who live in London, and translate this into art using new technology in the context their own “borderline’s environments”.
To start, we have to interpret how this concept relates’ to their representation. Some questions about how to translate this idea: What is Representation? What will be presentable in this context? And how would this be represented?
“Today, thanks in part to the heterogeneous forms and materials of so much twentieth century art, the term representation can be used to refer to a number of different types of signifying relation. ‘Representation’ can consist of a mimetic connection between a visual likeness produced in a non-linguistic medium – for example, a realist painting or sculpture – and the real world object that this copy signifies.”(BIRO, Mathew. 2003. P139) 1
We can find different ways to answer these questions. Parallel and opposites will show us the distinct social and political aspects of the “borderlines” issue in relation to the life and individual experiences of each immigrant. I will collect for the final piece interviews and reports documenting their relationship with the “borderline environment”.
But, at the same time, the representation of these borderlines is a heterogeneous aspect and a single point of view about the big space that the project intends to represent.
Charles S. Peirce called this iconic relation, emphasizing that the signifying makes no assertion to what really represents:
“The icon has no dynamical connection with the object it represents; it simply happens that its qualities resemble those of the object, and excite analogous sensations in the mind for which it is likeness” (PEIRCE, Charles S. 1955. P114) 2
The potential of representing this issues in our contemporary society is automatically related to: what does the new art and technological environment think about representation? And which interfaces and tools do we have to portray our social and political representation in a contemporary art aspect?
Lev Manovich, in his book “The language of New Media” defined a different concept of “representation”: ‘the “Representation-simulation”, “Representation-control”, “Representation-action”, “Representation-communication”, “Visual illusionism-simulation” and the “Representation-information”. But here, I am interested in using the concept of “Visual illusionism – simulation” to translate the borderline issues.
“Visual illusionism – simulation. Illusionism here refers both to representation and simulation. (...) Thus illusionism combines traditional techniques and technologies that aim to create a visual resemblance of reality – perspectival painting, cinema, panorama, etc. Simulation refers to various computer methods for modelling other aspects of reality beyond visual appearance – movement of physical objects, shape changes occurring over time in natural phenomena, motivations, behaviour, speech and language comprehension in human beings” MANOVICH, Lev. 2000. P17. 3
6. Outcomes
In the end of the project process I intend to show the documentation about it, throw the interviews, photography, installations, etc, all based in the material collected during the project production.
For the exhibition, I am looking to create a parallel exhibition in the MADA final show. Using the material produced by the five invited immigrants I will select and edit what will be showed in the ‘parallel exhibition’ using different platforms for translate the project aspect.
7. Media
In the project production I intend to use this technologies:
• Digital Video Camera
• Digital Photography camera
• Digital Sound recorder
• Computer for video edition (using Final Cut Pro Software)
For the exhibition I intend to use this technologies:
• Video projector
• Computer with internet connection
• 3 LCD TV
• 3 DVD player
• Sound system
8. Methodologies
Based in the Joseph Beuys concept “social sculpture” the project will document my encounters with a group of five immigrants to produce artwork that relates to their own experiences as immigrants in a foreign country, using the concept of ‘borderlines’ to emphasise this.
“(...) Is the numerous discussion about new tendency, looking for an extend definition of art and science. The Social Sculpture Theory became to the concepts of the artwork as a process, mutation, and evolution. The way that we mould and sculpt the world and the social environment.” (BEUYS, Joseph. In: STACHELHAUS, Heiner, 1990) 4
The project process will develop the methodologies. My encounters with this social group coupled with research generated by the project will shape the methods and techniques that I will apply to document this proposal.
Working with these five immigrants and conducting interviews to discover and investigate their own personalities and relationships with the global world is what I intend the final piece to represent.
This process of creating that Beuys defined as ‘The Social Sculpture Theory’ interests me. I want to use digital technology to realise this process in a practical and contemporary context.
The artist becomes a mediator articulating and creating actions for artistic discussion. Actually, to define Beuys works is quite difficult in our contemporary society, that’s why the project is using Beuys concepts as a reference point and a challenge.
The project documentation is the masterpiece. Using different aspects and interfaces to translate this process is what the project aims to achieve.
The art of acting with social groups is, most of the time, a methodical research process that aims to investigate the conceptual and aesthetical aspects related to these social networks. I want to produce a collaborative piece that is a reflection of how this group perceive their current environment.
9. Risk assessment
One of the most risk problem that could happen in the project process is one of the immigrants invited didn’t collaborate correctly, but, in case of this situation I will try to define his/her characteristic in the final piece.
Technological risks:
- Bad energy power connection.
- Bad equipments’ functionality.
- Bad distribution of the works in the gallery space.
10. Timetable
10.1 November
Research the project concept.
Start the PGPD paper.
Define Group of 5 immigrants
Start build website.
10.2 December
Finish the PGPD paper
Continuous Research the project concept.
Develop the methodology to work with social group.
Start the interviews with the 5 immigrants and sites researches.
10.3 January
10.3.1 First week
Work with the first immigrant
10.3.2 Second week
Work with the second immigrant
10.3.3 Third week
Work with the third immigrant
10.3.4 Forth week
Work with the forth immigrant
10.4 February
10.4.1 First week
Work with the fifth immigrant
10.4.2 Second week
Analyze and conceptualize the material collated with the five immigrants
10.4.3 Third week
Group meeting with the five immigrants
10.4.4 Forth week
Finish the installation idea with the five immigrants
10.5 March
Start the installation production
Edition and finished the conceptual material
10.6 April
Edition of the multimedia material
Installation production
10.7 May
Finished the multimedia material edition
Finished the Installation production
Development the Visual Identity of the project
Construct the graphic design of the catalogue
10.8 June
Print the Catalogue
Publish the website
Print the exhibition materials
Write the project Press Release
Send the Press Release to different magazines, websites, newspapers, etc.
10.9 July
Build the installation at the exhibition.
Final Show.
11. Bibliography
1. BIRO, Matthew. “Representation and Event: Anselm Kiefer, Joseph Beuys, and the Memory of Holocaust” The Yale journal of Criticism, volume 16. Number 1 (2003) 113-146. By Yale University and The Johns Hopkins University Press.
2. PIERCE, Charles S. “Logic as Semiotic: The Theory of Signs”, in Justus Buchler ed. Philosophical Writings of Peirce. New York., 1955, p114.
3. MANOVICH, Lev. “The Language of New Media”. Cambridge: The MIT Press, 2000, 354.
4. STACHELHAUS, Heiner. “Joseph Beuys”. Barcelona: Ed. Parsifal, 1990.
5. ANDERSON, Fred. “Art and National Identity”. Paper for the conference "Mutations" at the M. K. Čiurlionis National Museum of Art, Kaunas, Lithuania, 16-18:th of November 2001.
6. DAWSON, Andrew and RAPPORT, Nigel. “Migrants of Identity.” Oxford International Publishers Ltd. 1998.
11.1 Complementary bibliography:
1. SCHATA, Peter. “Social Sculpture Colloquium”. c/o Shelley Sacks. The school of Art, Publishing and Music, Oxford Brookes University. Goethe Institut Glasgow 1995. 116p
2. BEUYS, Joseph. Edited by COOKE, Lynne and KELLY, Karen “Joseph Beuys Arena – where would I have got if I had been intelligent!” Dia Center of Arts, New York. 1994. 294p.
3. DURINI, Lucrezia De Domizio. “The Felt Hat Joseph Beuys A Life Told” Edizioni Carte Segrete, Rome, 1991. 230p.
4. DURINI, Lucrezia De Domizio. “Joseph Beuys Difesa Della Natura: The Living Sculpture”. Silvana Editoriale Spa Cinisello Balsamo, Milano, 2007. 287p.
5. DOVEY, Jon. “Fractal Dreams: New Media in Social Context”. Lawrence & Wishart Limited, London, 1996. 218p.
6. WITKIN, Robert W. “Art and Social Structure”. Polity Press, Cambridge, UK, 1995. 222p.
7. ROBINS, Kevin and MORLEY, David. “Spaces of Identity: global media, electronic landscapes and cultural boundaries”. Routledge, London, UK, 1995. 257p.
8. SHAPIRO, David. “Social Realism: Art as a Weapon” Frederick Ungar Publishing Co., New York, 1973. 340p
Borderlines: Immigrant’s Environments in Social and Technological Art Context.
2. Keywords:
New media, immigrants, representation, video installation, contemporary art, collaborative artwork
3. Aims:
The project aims’ to research artwork that utilises’ digital technology for social and collaborative productions.
In the project I will discuss; how does our new media environment help to develop the production of social art?
I intend to work with a group of five immigrants who live in London. And through audiovisual experiments I want to document their own perspective of the city, their “borderline environment”.
I want to create an art piece that uses this social network as part of its’ process. I aim to discuss and find relevant arguments to act as a catalyst for the formulation of new perspectives. How can we produce art using the knowledge of our new media environment to raise awareness of political and social issues?
The project will investigate the concept of ‘borderlines’ in our global society, looking the result in a contemporary art context.
The work will be made with a social group, and I aim to produce a video installation, website, catalogue and an exhibition, all materials based upon this process.
I will research the social groups’ relationship between their identity and language, and how this is affected by a global city. I aim to contextualise my research with contemporary artists’ and theorists’.
I will use digital technology to document the interactions’ between the group. I intend to combine video, natural sound and photography to create a final piece that is a documentation of these interactions.
4. Objectives:
• Create an art piece that uses’ digital technology and translates’ the research results’ of the social aspects collected through the project process (by interviews, pictures, videos sound etc.)
• Document and research how a certain group of immigrants live in London? And how their lives change this global society?
• Research artworks that use new medias technology for the creation of discussion between the contemporary society and political issues.
• Build a website to publish the documentation of the project.
• Create a catalogue, which will be published for the exhibition opening, with images of the project process and critical texts about the project concepts.
5. Rationale
In the project “Borderlines: Immigrant’s Environments in Social and Technological Art Context” I will research and investigate different concepts with an intention to analyze the relationship between the new media art context and social environments.
I will investigate how the concept of “borderlines” and “environments” connect to our contemporary society, from a social and political perspective using the experience of five immigrants who live in London, and translate this into art using new technology in the context their own “borderline’s environments”.
To start, we have to interpret how this concept relates’ to their representation. Some questions about how to translate this idea: What is Representation? What will be presentable in this context? And how would this be represented?
“Today, thanks in part to the heterogeneous forms and materials of so much twentieth century art, the term representation can be used to refer to a number of different types of signifying relation. ‘Representation’ can consist of a mimetic connection between a visual likeness produced in a non-linguistic medium – for example, a realist painting or sculpture – and the real world object that this copy signifies.”(BIRO, Mathew. 2003. P139) 1
We can find different ways to answer these questions. Parallel and opposites will show us the distinct social and political aspects of the “borderlines” issue in relation to the life and individual experiences of each immigrant. I will collect for the final piece interviews and reports documenting their relationship with the “borderline environment”.
But, at the same time, the representation of these borderlines is a heterogeneous aspect and a single point of view about the big space that the project intends to represent.
Charles S. Peirce called this iconic relation, emphasizing that the signifying makes no assertion to what really represents:
“The icon has no dynamical connection with the object it represents; it simply happens that its qualities resemble those of the object, and excite analogous sensations in the mind for which it is likeness” (PEIRCE, Charles S. 1955. P114) 2
The potential of representing this issues in our contemporary society is automatically related to: what does the new art and technological environment think about representation? And which interfaces and tools do we have to portray our social and political representation in a contemporary art aspect?
Lev Manovich, in his book “The language of New Media” defined a different concept of “representation”: ‘the “Representation-simulation”, “Representation-control”, “Representation-action”, “Representation-communication”, “Visual illusionism-simulation” and the “Representation-information”. But here, I am interested in using the concept of “Visual illusionism – simulation” to translate the borderline issues.
“Visual illusionism – simulation. Illusionism here refers both to representation and simulation. (...) Thus illusionism combines traditional techniques and technologies that aim to create a visual resemblance of reality – perspectival painting, cinema, panorama, etc. Simulation refers to various computer methods for modelling other aspects of reality beyond visual appearance – movement of physical objects, shape changes occurring over time in natural phenomena, motivations, behaviour, speech and language comprehension in human beings” MANOVICH, Lev. 2000. P17. 3
6. Outcomes
In the end of the project process I intend to show the documentation about it, throw the interviews, photography, installations, etc, all based in the material collected during the project production.
For the exhibition, I am looking to create a parallel exhibition in the MADA final show. Using the material produced by the five invited immigrants I will select and edit what will be showed in the ‘parallel exhibition’ using different platforms for translate the project aspect.
7. Media
In the project production I intend to use this technologies:
• Digital Video Camera
• Digital Photography camera
• Digital Sound recorder
• Computer for video edition (using Final Cut Pro Software)
For the exhibition I intend to use this technologies:
• Video projector
• Computer with internet connection
• 3 LCD TV
• 3 DVD player
• Sound system
8. Methodologies
Based in the Joseph Beuys concept “social sculpture” the project will document my encounters with a group of five immigrants to produce artwork that relates to their own experiences as immigrants in a foreign country, using the concept of ‘borderlines’ to emphasise this.
“(...) Is the numerous discussion about new tendency, looking for an extend definition of art and science. The Social Sculpture Theory became to the concepts of the artwork as a process, mutation, and evolution. The way that we mould and sculpt the world and the social environment.” (BEUYS, Joseph. In: STACHELHAUS, Heiner, 1990) 4
The project process will develop the methodologies. My encounters with this social group coupled with research generated by the project will shape the methods and techniques that I will apply to document this proposal.
Working with these five immigrants and conducting interviews to discover and investigate their own personalities and relationships with the global world is what I intend the final piece to represent.
This process of creating that Beuys defined as ‘The Social Sculpture Theory’ interests me. I want to use digital technology to realise this process in a practical and contemporary context.
The artist becomes a mediator articulating and creating actions for artistic discussion. Actually, to define Beuys works is quite difficult in our contemporary society, that’s why the project is using Beuys concepts as a reference point and a challenge.
The project documentation is the masterpiece. Using different aspects and interfaces to translate this process is what the project aims to achieve.
The art of acting with social groups is, most of the time, a methodical research process that aims to investigate the conceptual and aesthetical aspects related to these social networks. I want to produce a collaborative piece that is a reflection of how this group perceive their current environment.
9. Risk assessment
One of the most risk problem that could happen in the project process is one of the immigrants invited didn’t collaborate correctly, but, in case of this situation I will try to define his/her characteristic in the final piece.
Technological risks:
- Bad energy power connection.
- Bad equipments’ functionality.
- Bad distribution of the works in the gallery space.
10. Timetable
10.1 November
Research the project concept.
Start the PGPD paper.
Define Group of 5 immigrants
Start build website.
10.2 December
Finish the PGPD paper
Continuous Research the project concept.
Develop the methodology to work with social group.
Start the interviews with the 5 immigrants and sites researches.
10.3 January
10.3.1 First week
Work with the first immigrant
10.3.2 Second week
Work with the second immigrant
10.3.3 Third week
Work with the third immigrant
10.3.4 Forth week
Work with the forth immigrant
10.4 February
10.4.1 First week
Work with the fifth immigrant
10.4.2 Second week
Analyze and conceptualize the material collated with the five immigrants
10.4.3 Third week
Group meeting with the five immigrants
10.4.4 Forth week
Finish the installation idea with the five immigrants
10.5 March
Start the installation production
Edition and finished the conceptual material
10.6 April
Edition of the multimedia material
Installation production
10.7 May
Finished the multimedia material edition
Finished the Installation production
Development the Visual Identity of the project
Construct the graphic design of the catalogue
10.8 June
Print the Catalogue
Publish the website
Print the exhibition materials
Write the project Press Release
Send the Press Release to different magazines, websites, newspapers, etc.
10.9 July
Build the installation at the exhibition.
Final Show.
11. Bibliography
1. BIRO, Matthew. “Representation and Event: Anselm Kiefer, Joseph Beuys, and the Memory of Holocaust” The Yale journal of Criticism, volume 16. Number 1 (2003) 113-146. By Yale University and The Johns Hopkins University Press.
2. PIERCE, Charles S. “Logic as Semiotic: The Theory of Signs”, in Justus Buchler ed. Philosophical Writings of Peirce. New York., 1955, p114.
3. MANOVICH, Lev. “The Language of New Media”. Cambridge: The MIT Press, 2000, 354.
4. STACHELHAUS, Heiner. “Joseph Beuys”. Barcelona: Ed. Parsifal, 1990.
5. ANDERSON, Fred. “Art and National Identity”. Paper for the conference "Mutations" at the M. K. Čiurlionis National Museum of Art, Kaunas, Lithuania, 16-18:th of November 2001.
6. DAWSON, Andrew and RAPPORT, Nigel. “Migrants of Identity.” Oxford International Publishers Ltd. 1998.
11.1 Complementary bibliography:
1. SCHATA, Peter. “Social Sculpture Colloquium”. c/o Shelley Sacks. The school of Art, Publishing and Music, Oxford Brookes University. Goethe Institut Glasgow 1995. 116p
2. BEUYS, Joseph. Edited by COOKE, Lynne and KELLY, Karen “Joseph Beuys Arena – where would I have got if I had been intelligent!” Dia Center of Arts, New York. 1994. 294p.
3. DURINI, Lucrezia De Domizio. “The Felt Hat Joseph Beuys A Life Told” Edizioni Carte Segrete, Rome, 1991. 230p.
4. DURINI, Lucrezia De Domizio. “Joseph Beuys Difesa Della Natura: The Living Sculpture”. Silvana Editoriale Spa Cinisello Balsamo, Milano, 2007. 287p.
5. DOVEY, Jon. “Fractal Dreams: New Media in Social Context”. Lawrence & Wishart Limited, London, 1996. 218p.
6. WITKIN, Robert W. “Art and Social Structure”. Polity Press, Cambridge, UK, 1995. 222p.
7. ROBINS, Kevin and MORLEY, David. “Spaces of Identity: global media, electronic landscapes and cultural boundaries”. Routledge, London, UK, 1995. 257p.
8. SHAPIRO, David. “Social Realism: Art as a Weapon” Frederick Ungar Publishing Co., New York, 1973. 340p
13.11.07
i-dentity by I-D Magazine
researching on the web, i found this short films selections made by I-D Magazine about identity.
The magazine invited 25 artists to show, in 2 minutes films, their own perspective about identity.
http://www.i-dmagazine.com/worldwide/worldwide1.htm
The magazine invited 25 artists to show, in 2 minutes films, their own perspective about identity.
http://www.i-dmagazine.com/worldwide/worldwide1.htm
need artists for a collabortive art project
I already have 2 immigrants for be part of the group that i`m going to work in this project.
This last weeks I did some experiences with Lana, sul african girl, who lives in london for 8 years.
I`m going to post some of the video experiences latter, when we finish the edition.
This first experience is really good, because now i can see more clearly what is my function in this project and how the collaboration will happen.
I think, with each immigrant, the collaboration will work differently.
I put an ad at 'gumtree' and 'talent circle' looking for immigrants artists who want to collaborate in the project. And i`m receiving great responses.
This add will be good to find people who really want to be part of the project. With this perspective, i think the work will appear more softly and informal and i`ll catch better their identities.
the link for the add:
http://www.gumtree.com/london/82/15837382.html
This last weeks I did some experiences with Lana, sul african girl, who lives in london for 8 years.
I`m going to post some of the video experiences latter, when we finish the edition.
This first experience is really good, because now i can see more clearly what is my function in this project and how the collaboration will happen.
I think, with each immigrant, the collaboration will work differently.
I put an ad at 'gumtree' and 'talent circle' looking for immigrants artists who want to collaborate in the project. And i`m receiving great responses.
This add will be good to find people who really want to be part of the project. With this perspective, i think the work will appear more softly and informal and i`ll catch better their identities.
the link for the add:
http://www.gumtree.com/london/82/15837382.html
1.11.07
Homecoming – Short Films - Selection of short works exploring ideas about belonging
Today, 1st of November, I went to the Rivington Place for watch five short films about immigrations, belongings and identity.
Homecoming presents a selection of short works by UK based artists who reflect on returning to their birth place while others explore the trials and tribulations of arrival by Britain's diverse migrant communities. Featuring work by Helena Appio, Inge Blackman, Uyen Luu, Nada Prlja and Alia Syed.
The Rights: I am Macedonian, Nada Prlja, 2007, 7 min
‘The Rights' is an ongoing series of video recordings of different boys and girls, originating from countries of the ‘New Europe'. This episode portrays a 9 year-old boy of Macedonian origin, reading a description of the ‘European Convention for the Protection of Human Rights and Fundamental Freedom' from The Concise Oxford Dictionary of Politics. The complexity of the vocabulary and sentence structure and the boy's inability to comprehend the concepts contained in the text symbolically reflect the impossibility of immigrants to become integrated into the ‘maze-like' legal systems.
notes: "human rights"
"learn everything from the beginning"
"fell like a child"
"criticism about human rights: 'we're not the same"
"sound- voice of the city"
Fatima's Letter, Alia Syed, UK 1994, 18min
In a letter written in Urdu to a friend, a woman remembers an event which took place in Pakistan. But she peoples her story with the unknown faces she sees in London's underground system. 'Being unhappy in London, you remember other places. When travelling on the East London line or visiting Whitechapel, I would encounter smells that reminded me of India or Pakistan.' Alia Syed 2001
notes:"original language"
"slow film"
A Portrait of Mr. Pink, Helena Appio, 1998, 15 min
Seventy-three-year-old Mr. Pink is a retired refuse collector who came to Britain from Jamaica in the fifties. He lives alone in a ramshackle, but extraordinary house in a South East London suburb. Inspired by a mixture of dreams, memories of his childhood and his religion, he adorned his Victorian mansion with his own unique designs. Inside and out, the house is decorated with the intense colors of the Caribbean, combined with other influences such as the stained glass windows in churches. His colorful garden contributes to the over all visual effect.
notes:
"identity / Memory"
"dancing is good, depend with who you dance"
"trying to bring a little of Jamaica to London"
Legacy, Dir. Inge Blackman, UK, 2006, 17 min, Doc/Drama
Legacy is a film about memories, ghosts and ancestors. It questions the lasting effects 400 years of slavery has had on the traditions, and intimate relationships of people of African descent in the Americas. This personal film focuses on the relationship Inge Blackman, the filmmaker, has with her mother and the challenging issues that they have confronted privately together, now projected into a public space.
notes: "Believes/ Tradition"
"memory is never fixed and is never true"
"African traditions"
"taboo"
Pho (Noodle Soup), Uyen Luu, 2000, 23:20 min
Uyen travels to Vietnam for the first time in 20 years to see her country and her people. This film about her search for identity is both visually stunning and profoundly moving as Uyen comes to recognise that her Vietnamese identity has been suppressed by her struggle to integrate in the western world.
notes: " Identity"
"Vietnam"
"everyone can come to Vietnam but the Vietnam can't go out"
Homecoming presents a selection of short works by UK based artists who reflect on returning to their birth place while others explore the trials and tribulations of arrival by Britain's diverse migrant communities. Featuring work by Helena Appio, Inge Blackman, Uyen Luu, Nada Prlja and Alia Syed.
The Rights: I am Macedonian, Nada Prlja, 2007, 7 min
‘The Rights' is an ongoing series of video recordings of different boys and girls, originating from countries of the ‘New Europe'. This episode portrays a 9 year-old boy of Macedonian origin, reading a description of the ‘European Convention for the Protection of Human Rights and Fundamental Freedom' from The Concise Oxford Dictionary of Politics. The complexity of the vocabulary and sentence structure and the boy's inability to comprehend the concepts contained in the text symbolically reflect the impossibility of immigrants to become integrated into the ‘maze-like' legal systems.
notes: "human rights"
"learn everything from the beginning"
"fell like a child"
"criticism about human rights: 'we're not the same"
"sound- voice of the city"
Fatima's Letter, Alia Syed, UK 1994, 18min
In a letter written in Urdu to a friend, a woman remembers an event which took place in Pakistan. But she peoples her story with the unknown faces she sees in London's underground system. 'Being unhappy in London, you remember other places. When travelling on the East London line or visiting Whitechapel, I would encounter smells that reminded me of India or Pakistan.' Alia Syed 2001
notes:"original language"
"slow film"
A Portrait of Mr. Pink, Helena Appio, 1998, 15 min
Seventy-three-year-old Mr. Pink is a retired refuse collector who came to Britain from Jamaica in the fifties. He lives alone in a ramshackle, but extraordinary house in a South East London suburb. Inspired by a mixture of dreams, memories of his childhood and his religion, he adorned his Victorian mansion with his own unique designs. Inside and out, the house is decorated with the intense colors of the Caribbean, combined with other influences such as the stained glass windows in churches. His colorful garden contributes to the over all visual effect.
notes:
"identity / Memory"
"dancing is good, depend with who you dance"
"trying to bring a little of Jamaica to London"
Legacy, Dir. Inge Blackman, UK, 2006, 17 min, Doc/Drama
Legacy is a film about memories, ghosts and ancestors. It questions the lasting effects 400 years of slavery has had on the traditions, and intimate relationships of people of African descent in the Americas. This personal film focuses on the relationship Inge Blackman, the filmmaker, has with her mother and the challenging issues that they have confronted privately together, now projected into a public space.
notes: "Believes/ Tradition"
"memory is never fixed and is never true"
"African traditions"
"taboo"
Pho (Noodle Soup), Uyen Luu, 2000, 23:20 min
Uyen travels to Vietnam for the first time in 20 years to see her country and her people. This film about her search for identity is both visually stunning and profoundly moving as Uyen comes to recognise that her Vietnamese identity has been suppressed by her struggle to integrate in the western world.
notes: " Identity"
"Vietnam"
"everyone can come to Vietnam but the Vietnam can't go out"
30.10.07
Exhibition: Living Room - Quarto Vivo
"Living Room - quarto vivo"
Emma Thomas gallery
www.emmathomas.com.br
opening: 03 November 2007 - 18 until 22hrs
Wednesday until Fridays: 18-21hrs - Saturdays: 20-0hr
artists: Ademar Ferreira, Adriana Peliano, Adriano Casanova, Alexandra Ward, Alexandre Diniz, Ana Starling, Anderson Orui, Andréa Aly, Antonio Renée, Beth Barone, Cadu D`Oliveira, Carolina Lopes, Christine Rohrig, Cynthia Taboada, Daniela Athayde, Danielle Hoogenboom, Denis Cisma, Fábio Maia, Flaviana Bernardo, Flora Assumpção, Hugo Frasa, Juliana Freire, K. Patrício, Lea Van Steen, Lesser González, Lucas Simões, Luciana Nemes, Marcos Gorgati, Miguel Sanchez, Paula Maestro, Paulo Beto, Pedro Terra, Peter de Brito, Priscila Gurski, Ramsés Maçal, Raquel Kogan, Renata Corrêa, Renato Pera, Ricardo Birmann, Roberto Belini, Roberto Guimarães, Rodrigo Borges, Rogério Andreotti, Susana Bastos, Tarsila Yuki, Thais Gouveia, Tom Lisboa, Wagner Rossi e Wagner Viana.
my work:
Title: "borderlines: Portuguese and Magyarország"
Dimensions: diptic, 30 x 21 cm
technique: collaborative work, drawing and digital collage
picture from the exhibition opening:
Emma Thomas gallery
www.emmathomas.com.br
opening: 03 November 2007 - 18 until 22hrs
Wednesday until Fridays: 18-21hrs - Saturdays: 20-0hr
artists: Ademar Ferreira, Adriana Peliano, Adriano Casanova, Alexandra Ward, Alexandre Diniz, Ana Starling, Anderson Orui, Andréa Aly, Antonio Renée, Beth Barone, Cadu D`Oliveira, Carolina Lopes, Christine Rohrig, Cynthia Taboada, Daniela Athayde, Danielle Hoogenboom, Denis Cisma, Fábio Maia, Flaviana Bernardo, Flora Assumpção, Hugo Frasa, Juliana Freire, K. Patrício, Lea Van Steen, Lesser González, Lucas Simões, Luciana Nemes, Marcos Gorgati, Miguel Sanchez, Paula Maestro, Paulo Beto, Pedro Terra, Peter de Brito, Priscila Gurski, Ramsés Maçal, Raquel Kogan, Renata Corrêa, Renato Pera, Ricardo Birmann, Roberto Belini, Roberto Guimarães, Rodrigo Borges, Rogério Andreotti, Susana Bastos, Tarsila Yuki, Thais Gouveia, Tom Lisboa, Wagner Rossi e Wagner Viana.
my work:
Title: "borderlines: Portuguese and Magyarország"
Dimensions: diptic, 30 x 21 cm
technique: collaborative work, drawing and digital collage
picture from the exhibition opening:
27.10.07
looking for the 'non-space'
video about a 'non-space', using a mysterious narrative for translate it.
who are the characters? the ball? the bone? or the backyard?
16.10.07
GET LOST, Artists Map Downtown New York
GET LOST is a collective portrait of downtown New York. Twenty-one international artists were invited to create a personal view of the city and draw a map of downtown New York, uncovering a territory that is both real and imaginary.
GET LOST brings together fictional landscapes, utopian visions, private memories, and obsessive instructions to explore Manhattan, its past, present, and future.
An exercise in emotional geography, GET LOST sketches the coordinates for an endless drift across the streets and myths of downtown New York.
GET LOST is the city as seen through the eyes of: 16beaver group; Francis Alÿs; Cory Arcangel; Jennifer Bornstein; Beth Campbell; Marcel Dzama; Isa Genzken; Inaba and Associates; Dorothy Iannone; Chris Johanson; Christopher Knowles; Terence Koh; Julie Mehretu; Jonas Mekas; Aleksandra Mir; Thurston Moore; Dave Muller; William Pope.L; Lordy Rodriguez; Rirkrit Tiravanija; Lawrence Weiner.
GET LOST is a New Museum production, edited by Massimiliano Gioni.
15.10.07
border languages Portugues and Magyarország (colaborative work: Adriano / Sarah / Ship)
The work “border languages Portuguese and Magyarország” is a collaborative production between Brazilian and Hungarian.
This work talk about the similarities between the Portuguese and Hungarian, produced in a brainstorm about the both alphabet and how the both culture is similar and different at the same time.
When we realize that the first difficulties in a multicultural relationships is the language (most of the time speak in English) the grammar and the assent look similar and correspond to an unexpected platform for generate knowledge and cultural changes.
The piece is part of the MA project “Immigration and Identity: Social Environment in Contemporary Art.”, a research about different cultures and languages in London.
This work talk about the similarities between the Portuguese and Hungarian, produced in a brainstorm about the both alphabet and how the both culture is similar and different at the same time.
When we realize that the first difficulties in a multicultural relationships is the language (most of the time speak in English) the grammar and the assent look similar and correspond to an unexpected platform for generate knowledge and cultural changes.
The piece is part of the MA project “Immigration and Identity: Social Environment in Contemporary Art.”, a research about different cultures and languages in London.
10.10.07
Ecuador Block 16'
Last Tuesday, 9 October, I saw an exhibition with David Medalla (a great Filipino artist and art activist).
We went to a gallery in the central London at a very posh hotel.
The exhibition is about an Indian tribe and the oil contamination at Ecuador, created by the Mexican artist "Gabriel Orozco"
I think this kind of "political art works" or "engaged art" is the new tendency in the art circuit.
now, a little text and pictures about the exhibition; and ahead, some Gabriel Orozco works
The show entitled 'Ecuador Block 16' is an exhibition of creative work that has emerged from the Adventure Ecology mission to Ecuador earlier this year.
The intrepid AE team were brought back together in London for the event: David de Rothschild, founder of Adventure Ecology; Gabriel Orozco, Artist; Dustin Lynn, film maker; Oliver Chanarin + Adam Broomberg, photographers; Maria Fadiman, Ethnobotanist and their jungle guide Zoe Tryon, were all on hand to talk about their work and their adventure together; raising awareness of oil pollution in the Amazon rainforest. You can see several of Adam + Olly's incredible photographs over the fold.
These photos are exhibited on an enormous scale and create a big impact in the gallery space making you really feel the rich textures and colours of the Amazon. These contrast beautifully with the small delicate sketches made by Gabriel Orozco with seeds, fruit and oil from the rainforest. All 60 sketches are displayed on a plinth in the middle of the room and weighted down with shards of Achuar pottery. These pieces had been placed on the sketches while he was working in the field to stop them blowing away in the wind and consequently became part of the art work.
Dustin Lynn's 16mm short film at the other end of the gallery catches yet more extraordinary imagery from the expedition. The film gives a wonderful overview of the team's experiences in Ecuador and shows how all the members of the team worked together within their various creative mediums. The quality of light that Dustin captures on film, somewhat his trademark, is what makes this an exceptionally beautiful piece of film.
Ecuador Block 16 at The Gallery at The Hospital Club
24 Endell Street, London WC2
Tuesday 9th – Friday 12th October, 10am to 9pm
Saturday 13th October – 12 noon to 9pm
Gabriel Orozco,
Pinched Ball
1993
Cibachrome, 16 x 20 inches
Edition of 5
Courtesy of the Artist and Marian Goodman Gallery, New York
From Roof to Roof
1993
Cibachrome, 16 x 20 inches
Edition of 5
Courtesy of the Artist and Marian Goodman Gallery, New York
Empty Shoe Box
1993
Cibachrome, 16 x 20 inches
Edition of 5
Courtesy of the Artist and Marian Goodman Gallery, New York
We went to a gallery in the central London at a very posh hotel.
The exhibition is about an Indian tribe and the oil contamination at Ecuador, created by the Mexican artist "Gabriel Orozco"
I think this kind of "political art works" or "engaged art" is the new tendency in the art circuit.
now, a little text and pictures about the exhibition; and ahead, some Gabriel Orozco works
The show entitled 'Ecuador Block 16' is an exhibition of creative work that has emerged from the Adventure Ecology mission to Ecuador earlier this year.
The intrepid AE team were brought back together in London for the event: David de Rothschild, founder of Adventure Ecology; Gabriel Orozco, Artist; Dustin Lynn, film maker; Oliver Chanarin + Adam Broomberg, photographers; Maria Fadiman, Ethnobotanist and their jungle guide Zoe Tryon, were all on hand to talk about their work and their adventure together; raising awareness of oil pollution in the Amazon rainforest. You can see several of Adam + Olly's incredible photographs over the fold.
These photos are exhibited on an enormous scale and create a big impact in the gallery space making you really feel the rich textures and colours of the Amazon. These contrast beautifully with the small delicate sketches made by Gabriel Orozco with seeds, fruit and oil from the rainforest. All 60 sketches are displayed on a plinth in the middle of the room and weighted down with shards of Achuar pottery. These pieces had been placed on the sketches while he was working in the field to stop them blowing away in the wind and consequently became part of the art work.
Dustin Lynn's 16mm short film at the other end of the gallery catches yet more extraordinary imagery from the expedition. The film gives a wonderful overview of the team's experiences in Ecuador and shows how all the members of the team worked together within their various creative mediums. The quality of light that Dustin captures on film, somewhat his trademark, is what makes this an exceptionally beautiful piece of film.
Ecuador Block 16 at The Gallery at The Hospital Club
24 Endell Street, London WC2
Tuesday 9th – Friday 12th October, 10am to 9pm
Saturday 13th October – 12 noon to 9pm
Gabriel Orozco,
Pinched Ball
1993
Cibachrome, 16 x 20 inches
Edition of 5
Courtesy of the Artist and Marian Goodman Gallery, New York
From Roof to Roof
1993
Cibachrome, 16 x 20 inches
Edition of 5
Courtesy of the Artist and Marian Goodman Gallery, New York
Empty Shoe Box
1993
Cibachrome, 16 x 20 inches
Edition of 5
Courtesy of the Artist and Marian Goodman Gallery, New York
26.9.07
24.9.07
20.9.07
exhibition: connecting urban spaces [emma thomas gallery[
conectando espaços urbanos / connecting urban spaces
Londoner..
Hi everybody,
this is my blog.
i'll post all my thoughts and process about my project in Digital Arts at London University of Arts.
enjoy it!
this is my blog.
i'll post all my thoughts and process about my project in Digital Arts at London University of Arts.
enjoy it!
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