Curate and Curate

For Curate and Curtique I found artist Hannah Valentine and loved this little blurb about her work that I found on the Gow Langsford Gallery website. (http://www.gowlangsfordgallery.co.nz/exhibitions/pastexhibitions/2012/windowgallery/hannahvalentine.asp).

I used Hannah Valentine's work Haptic Prospect #3 in my Curate and Critique assignment because I love the simplicity of it, the fact that there is nothing that complicates any of the elements, everything is as it is, the elements are as they are in everyday life and in its simplicity it speaks of an action, it activates.

"Hannah Valentine’s practice is based around the body, movement and participation. She approaches the performative body in terms of physicality and exercise in relation to our urban environment. Her interest is in the potential of repetitive motion to translate into knowledge as well as the influence the vertical landscape has upon our alignment in space. Her work takes form primarily in object, performance and documentary style film. The body and lived experience are primary as digital media threatens to blur society's conceptions of reality."

Haptic Prospect #3

2011

Steel, wood, bolts, Gym Mats

3000 x 4000 x 1500 mm (approx)

Situations

2011

Teetering Stabilities

2011

Installation view, Auckland's BIG Little City Late Night Art

Snake Pit

The Beautiful Life: Potential, Denial, Grace

2011

Installation view, Elam Graduation Show

Photos from Gow Langsford Gallery (www.gowlangsfordgallery.co.nz)

My sisters friends brother has just been traveling overseas and took these shots. It's an empty building that artists now come to (apparently drink, smoke and paint) paint on the walls and floors over and over again.

Nadia Myre: THE SCAR PROJECT

Link to Nadia Myre's website

I saw this work in a post from the Sydney Biennale 2012 and thought it was a pretty amazing project. The very different ways that people had gone about stitching and representing their scars. And I thought about the conversations creating have the potential to bring about.

In 2005 Nadia Myre initiated the ongoing Scar Project, an open lab experience where people sew, with various fibres and threads, a canvas representation of a physical, emotional, psychological, or spiritual scar they may have, and write out the accompanying narrative.   Over the last 6 years, in workshops with youth groups, cultural centres, seniors centres, prison circles, and schools, She have accumulated a collection of over 800 scars and stories which have been exhibited in galleries and museums in Canada and the US.

Scar Project, Kendall College of Art, Grand Rapids (2010)

# 376

The Scar Project

The Scar Project, Urban Shaman, MB (2007)

 Photos taken from http://www.nadiamyre.com/Nadia_Myre/portfolio/Pages/The_Scar_Project.html#4

Walters Prize artist talk: Alicia Frankovich

Link to Walters Prize 2012 write up on Eyecontact

Coming in with no idea of what to expect at Alicia Frankovich's artist talk (and my dad even less so) and also no time before the talk to have a look and experience for myself her work, I sat, listened and took notes:
Upon walking in... faced with a very noisy video work, displayed very commonly (projected onto whole of large wall in a dark space. And then you round the corner (still hearing the commotion happening in the video in previous space) and see multiple things happening - a performative looking space with upside down music stands with music books and upright standing chairs. There is also a kinetic sculpture, a large painting hung away from but facing the wall, two old TV sets facing one another, playing footage of a performance.

Alicia and a lady come in and lay on the ground. The lady asks Alicia questions, and alicia answers them. It sounds informal but planed, but not rehearsed so much that Alicia can't deviate from original question. Throughout the talk Alicia and the lady move around the space laid out with music stands and chairs. The doesn't seem to be a clear formula as to when they move, but they do it without any disruption to what they are saying. Their bodies activated the space and at times got very close to us who were listening. The movements, to me, were similar to that of a warm up or a cool down - with the time taken in every position and the transitions between laying, sitting and standing close together (sometimes side by side or back to back) or other times at opposite corners of the square area.  
*The lady mentioned above was Caterina Riva*

Image: Alicia Frankovich, Floor Resistance, 2011 at Hebbel Am Ufer, HAU 3. Photograph by Conor Clarke

Alicia Frankovich, Jumping Man

From: http://leafletleaflet.blogspot.co.nz/2012/08/short-sharp-change-finger-snap.html

Picture of Alicia Frankovich and Caterina Riva during artist talk at Auckland Art Gallery

NOTES: 

• Binary - strength - gender - personal contact.
• Didactic - http://en.wikipedia.org/wiki/Didacticism

Didacticism is a philosophy that emphasizes instructional and informative qualities in literature and other types of art. The term has its origin in the Ancient Greek word διδακτικός (didaktikos), "related toeducation/teaching," and signified learning in a fascinating and intriguing manner.

Didactic art was meant both to entertain and to instruct. Didactic plays, for instance, were intended to convey a moral theme or other rich truth to the audience.

• Breaking down the different way in which we experience art. The black box - live, picture, kinetic sculpture.
• Organising bodies in space.
• Spontaneity - how people react. People act themselves. No hierarchy. Vulnerability of encounter of viewers.
• Described the function of space.
• Several bodily experiences  in one, peoples movement to view work - whole body experience.