At the movies

Movies make a big part of my life. My WhatsUp static message says “at the movies”. I am the typical day dreamer. My brain makes space for a second life for day-time dreaming and a third life for sleep-time dreams. I admire film makers and script writers. Since young I had the chance to see movies from all over the world. Athens was – and still is – a city with geniuin cinema fans and cinema owners. These last ones admirably kept their cinema spaces through the 10 year crisis and their audience did not let them down. I will never forget going to see On body and Soul by Ildikó Enyedi in the cinema Asty in the centre of Athens in one of my last mama-bound trips. OK, it is one of the oldest cinemas in the city and has always been a culture place, but still! It was full and it is not a small space; rather the opposite. So, growing up – with culture as my guide and saviour – my aesthetic and intellectual being was formed by J.L. Godar, M. Antonioni, W. Wenders, etc. These as the main course with the common Hollywood blockbusters as side dish.

Here in The Hague, this part of culture is squeezed in tiny rooms of about 30 persons and only in a cinema called “Filmhuis”, the house of film. All the other cinemas are uniformly set up for blockbusters and mono-language films, English or the local Dutch production (and rarely French).

The other day, a youngster brought up the movie Fifty Shades of Grey on which I said that I watched 10 minutes and no more because I found it boring (he as well actually). During a short passage by the university recently, a professor kept banging on that the book would not have become so successful should it not have been available for e-readers (which was a standard example for e-reader benefits) because people would be embarrassed to read a physical book with the title on the cover exposed in public spaces, meaning in the train while going to work (and getting horny?). Then he would go further to talk about the film in cinemas and how shocking that was for people, etc. Whenever he would mention this I wanted to counter propose Lars von Trier and his Nymphomaniac (see my blog post). But as I discovered lately not so many people in The Netherlands know about him and his movies (or my environment is in a certain deep at the moment). The before mentioned young man that does know him said to me “If you like his movies then you should see this director’s films as well”, talking about horror movies. Von Trier’s films are not horror, they are masterly horrific, and I cannot say that I like them though I do watch them religiously (must have something to do). I certainly do like  the feel of crushing our domesticated bourgeois existence (mine included) with his extremities that seem to have no limit. It is more about getting things into perspective and re-focus. Anyway, life contains a big portion of horror and pain; we contain horror and pain and we walk around frustrated and disoriented in the world of the bold and the beautiful.

Talking about horror movies, my distance to them started somewhere after The Ring and its American version of 2002. Hadn’t given much thought about it, beside relating this with going through years of special sensitivities; bringing up a child, etc., until I recently read this article “The Ones That Got Away” (Douglas Coupland, Bit Rot, 2015, Witte de With Publishers, pp. 72-74) in a bundle of writings by Douglas Coupland (yes, the same person who wrote back in 1991 Generation X). One of the cases (that got away) starts with this statement “Back around 2000 I was having dinner with a film producer looking for ideas and I told him the future was in zombie films and TV. He asked why and I told him the truth, which is that in order to turn an actor into a zombie, all the actor has to do is put out his or her arms and grunt. Net cost? Zero.” I was shocked! So it is not about cheating our fears, throwing a laugh at them perhaps? Feeling happy in the end for not being a freak ourselves? Anyway, a horror film came on tv and I sat to watch it. It was made with teenage actors and apparently for the same age audience. It was horror without reason and somehow well in line with the tv news. It was horror as light entertainment that generates money. OK, one more on my list of things that I don’t get (see also ik-snap-er-niks-van project). Yet, I will look for intellectual horror movies and come back on the subject when I find them.

P.S. In the photo I am retouching a painting (not mine/ours) that was damaged and K_Van and I restored it; a paid assignment by an art collector (not mine/ours). Seeing the photo I remembered The Ring; yet, it was just another non-functional gig of mine: having no hair band while kneeling on the floor to apply paint (oil paint) on someone else’s work. To even out this horror, it kindly brought out all these thoughts about movies, in the night-dreaming space of my mind.

Sofia as a horror hero

Engraving

Engraving

The first works of 2019 were ready by the 3rd week of January: two linocuts of medium size, one with two plates and the other one with three. The aim was transparency, juxtaposition of free drawing and design drawing, experimenting with white on black to achieve the aimed transparency. Noted while working: Later the underprint might be coloured. Titles: “Pattern: white noise” and “Pattern: efforts to tame freedom”.

Proof prints and models

These two linocut prints took many work hours and many proof prints. After the first proofs of the first one (White noise), I printed on Japanese paper Awagami size 49,5 x 61 cm. The result was not what I wanted: the paper did not stick well on the inked plate and did not absorb the ink well. As a result, the second plate which entails a large inked surface (white) came out with lines from the spoon that I use for hand printing.

Then, I made the second design and decided to use three plates. Before working on the two smaller plates for this one, I made a model from milky semi-transparent paper that is usually used for animation design.

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Tosa Shi paper and waterbased ink

After several proofs, I went ahead with printing again: I bought new Japanese paper of differently layed fibres and slightly smaller sheets: Tosa Shi is the name of the paper, white colour, with a rather coarse texture on one side, smooth on the other; the sheets I bought are size 45,5 x 60 cm. This paper sticks well on the inked linoplates. While printing you see the design at the back side of the paper. It is also strong, does not tear. It does leave a bit of grain/dust on the black surfaces. I don’t know if this can be avoided if using oil ink. This time I wanted to work fast so I used the Schminke waterbased ink (with natural bind mediums-gummi arabicum). This ink is supposed to dry within 15′. However, to print the second layer, I allowed the prints to dry for one day. For the 3rd layer of design 2 – black lines on white surface – I waited for two hours for the white to dry. Still, I have the impression that it could have dried longer. I also tried both sides of the paper to see which side prints better. It is definetely the smooth side that you need to use. Unless you want to experiment with dusty like surfaces and a result of less opaque colour.

2019 will be a printing year for me. I continue now with smaller format linocuts and with colour (red and yellow inks already in the studio). Then I also want to work with lithography. I have two designs nearly finished; need to sit down and prepare them and then arrange to go to the printing studio in The Hague, to put them on a stone and print.

lino prints white noise

Engraving is a (or the) art labour to draw satisfaction and peace from. You need physical strenght, control on your movement, good planning and precision, and a special kind of concentration and devotion when engraving and printing; and the prints radiate all this. What a thrill!

linocut rolls and inks

 

The authority of the button

The authority of the button

 

Introduction no 1

Being, or not, a person who doesn’t like to be told what to do is of no importance; we all succumbed at some point to the button. Being aware, or not, of when the delirium started is of no importance either. At present, the button is triumphing.

The authority of the button in practice: you do when you press it. Yet, this authority goes beyond the physical action on to the power exercised on thought and will of each one of us.

The following text was a brief comment, expressed rather as a question, that was published in a closed wiki last year (2016) as assignment in the course ‘Media Philosophy’.  It refers to text as this was the subject of the study; but the visual and the arts are in the same stream.

The comment: the authority of the button

[…] in text-related technologies, we can take as example the structure of the digital text with its multilevel linking; all with the use of the button and the necessary user’s action of clicking.

The button is a technological device that entails simultaneously the option (free choice) and the command (authoritarian behavior). In these two contradictory traits, the first lays the foundation for the second to establish itself. A technology with innate capacity for organizing power and authority seems the only option in a democratic society; seemingly, the authority is diffused to the people that use this technology.

The use of the imperative form, either friendly as in “join, share, like, etc.” or service oriented as  in “listen now, download now, go there now, etc.”, and of course more directly commanding as in “buy now”, would not be accepted otherwise; not in politics, nor in social life. Instead, because of being essential to the structure of the specific technology, and through its material carrier, the button, the command has been accepted as normal. In its turn, the authoritarian behavior exercised on individual level, shifts the limits of acceptable authority that can be imposed centrally.

The question arises: is the authoritarian tendency innate to humans so that the central power contains it as much as the technology that they produce?

Introduction no 2

The button has been a peculiar element of modern times. It has been the focus of awe and of mockery since the moment that its use left the industrial terrain and spread in to everyday life. Between Chaplin’s uncontrollable machines in his movie Modern Times (1936) and The Matrix (Wachowski brothers, 1999), buttons became an accessory in the hands of literally everyone.

One push further, the statement ‘Never send a human to do a machine’s job’ (The Matrix) moved from the sphere of the joke to the common belief.

P.S. 1 I had a hard time in the Univ when omitting the conclusion/closure bit, faithful to the inconclusiveness of art. Cause, apart from believing in this as the only possible free area, I considered all my writings as being part of my artistic practice (no conclusions, only open space). That is why this blog post has two introductions; one to start and one to finish, with the question in the middle.

P.S. 2 The front image is a detail from a textile work of mine titled ‘The memory of a nebula’; embroidery with some padded parts.

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‘Do not press’ – acrylic on canvas, 1998

 

documenta 14: this is not a love song

documenta 14: this is not a love song

No, not; this is not a love song.*

This is a multifaceted complaint/ protest in the name of the daunted, the taunted, the abused, the displaced, the endangered, the forgotten, the ignored, the misunderstood, the damaged, the unjustified, etc.

It is a sample of ideas and narrations of the named alternative view on world, life, and history; and a push to the opposition towards the forefront. The exhibition is an illustration of those ideas and narrations with the use of art, music notation, historical craft, archival pieces, etc; an approach that gives a turn-of-the-century feel to the show. But even that is inversed, as there is no look to the future and no suggestion. The statement of documenta 14 is that protest is a solution in itself.

Where this could be satisfactory for many, the presentation comes out as an ambiguous endeavor; pointing fingers to the proved guilty of history (e.g. nazis and current politicians) yet staying aloof from the bickering of whether there are politics to discuss about, or only budgets and budget-holders.

There is also a constant reference to Greece in a mixture of apologetic and criticizing spirit. For those who have no personal experience of the Greek history and society, it is a riddle with multiple interpretations of which none is correct. There is cruelty in this and harm, I find. The EMST exhibition in the Fridericianum could had better been avoided; though here I am the biased one, suffering from suffocation throughout.

Cruelty and harm come from the seemingly important but unexplained exhibits, like this one, set on a table behind glass in the Neue Galerie: a publication made in 1946 by C.A. Doxiadis and titled The sacrifices of Greece in the Second World War. The open spread shows a graph (right) and explanation (left) in four languages – Greek, French, English, and Russian – of the ‘Rise in mortality during the occupation [by the nazis]’. Only the black part on the graph says Η ΠΕΙΝΑ, meaning ‘the hunger’, while the explanation on the left says in all four languages ‘violent and accidental deaths’. One would expect that this is the point of the exhibit; missed by everyone non Greek speaking.

 

Right in the next room there is a wall size exhibit called ‘Real Nazis’ (by Piotr Uklanski):

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This venue of documenta 14, the Neue Galerie, is full of trauma, guilt, authority, and the positioning of art in this and all what it has to deal with, after all. Yet one must be aware of the faint distinction between what is real and what is fake, or just an assumption. Art is not a documented suggestion nor a proven hypothesis; no matter that words like ‘epistemology’ or ‘typology’ have entered its vocabulary.

In a more empirical set-up and more pleasant to walk about is the KulturBahnhof and its decommissioned tunnel. The works shown have an element of transition, naturally, and a widely meant use of fabric and other tangible mediums. The work ‘Drawing a line through landscape’ by Nikhil Chopra, includes paintings made during a walking travel from Greece to Kassel and a nomad tent with a video.

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Rolling down the railroad towards the Neue Neue Galerie we come across a stretched canvas with the word ΧΑΙΡΕΤΕ on it, meaning ‘Hello’ in a somehow formal way. At the background, a low volume rebetika music is playing. The work, titled ‘The Welcoming Gate’ by Zafos Zagoraris, is a highly emotional one. Yet, you still need to read the story.

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The Neue Neue Galerie shows newer newer works; it is thus more noisy and flashy than the other venues. The neighborhood is interesting as choice, as usually this is the kind of area to see the art in its making. The disparity between the documenta audience and the junkies-drunkards-homeless plus the local inhabitants could have been thought of as part of the set-up.

Tip: the Turkish restaurant on the same street uphill is all you’ll need after the art visit!

Epilogue
documenta 14, as a show based on history and stories, can provoke many thoughts and produce just as many stories. It can also produce critic; which is a positive thing.

It can also be considered a point 0, as to the fact that it is a show that could have as subtitle ‘In the mind of the curator’. The exhibits have not much meaning in themselves; they serve the ideas of the curator. The exhibits live in a pre-determined context and  are selected as a suitable illustration of it. When speaking of democracy and self-determination, the exhibits do not enjoy either. The deriving question is ‘Is a (good) curator good for art?’ The question can be asked also in plural.

It is also a point 0, as to the fact that the evils are exposed and the unsaid is said as greatly or as clumsily as it was possible. Statement clear; time for action and change.

As for the working-title ‘Learning from Greece’: How about inert colonialist tendencies? After all, Greece and the Greeks allow themselves to be prey to the ΞΕΝΟΙ (foreigners/strangers/visitors), offering them the illusion of being superior. However, touching raw history is even in this set-up a no-go.

*Yes, from the song ‘This is not a love song’ by Public Image Ltd, 1983.

P.S. 1 A last article about documenta 14 may appear on this blog about the Pubic Programs, an experiment directed by Paul B. Preciado.

P.S. 2 There are two previous articles on this blog about documenta 14; short ones: ‘Textiles in documenta 14’ and ‘documenta 14 -Kassel: in a Yes and a No’.

Photos below: In documenta Halle, Posters of performances of Iannis Xenakis in Athens in 1980’s (top), and a music score by Jani Christou (down).

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Textiles in documenta 14

Textiles in documenta 14

It is all about the story. That is the story of documenta 14. Textile is there in this frame just like all the other exhibits. The focus points immigration-democracy-disparity must be present even when talking about reindeers or indigo dye. The work is not what you see; the story is. In this sense, textile works have taken an equal place next to the other works of art: that of incidences of non-importance as such, but rather means of illustration of the general concept.

Further, the included textile works are a sample of the tolerable:
naïve with a story of meaning, high aesthetics with a story of meaning (hanged up high as well), size related with a story of meaning (size is imposing no matter what it is for the rest), memorabilia. The latter is covered in the case of textiles through the show of costumes or ordinary clothes, exhibited amongst other objects and photos. Memorabilia carry anyway a tamed sentimentalism, always attached to a story and within the agreed contextual history. Within the frame of documenta, all that is translated into conceptual folklore (because folklore as such is related to colonialism and that is not tolerable).

If you don’t understand, it is because the show is for those who recognise the structure, exhaustively repeated from one contemporary show to the next. As general rule, this is to be kept: a work can be anything as long as it is not what it is. In short, there is no work, there is only a concept containing variables (variable: a symbol that can represent different values).

P.S. 1 It goes further to the notion of art as social science or any science, and the accomplished move of institutionalisation of art (fitting in the programmes of government-fed or otherwise-fed bodies like museums and academic institutions).

P.S. 2 Putting aside how limiting that is, it is debatable whether documenta 14 is on this side or the other (because it does take sides). And, yes, there is such a thing as ‘over-institutionalisation’; this comes from a very interesting piece of writing: “‘Over-institutionalisation’ might therefore suggest that of all the countless individual activities that contribute, day by day, to this contemporary art world, the typical and predominant kind is shaped, whether we know it or not, by those policy goals based on standards, access, and the national interest. On the other hand, however, there are different kinds of activity, based on different values and interests.” By Michael Ascroft, ‘Contemporary art and over-institutionalisation’, Un Magazine 6.1, online: http://unprojects.org.au/magazine/issues/issue-6-1/contemporary-art-and-over-institutionalisation/

 

Lower photos: Right, Quipu gut by Cecilia Vicuna; Left, Fundi (meaning ‘uprising’ ) by Aboukabar Fofana.

Top photos: Historia by Britta Marakatt-Labba, see text here:

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documenta 14 – Kassel: in a Yes and a No

documenta 14 – Kassel: in a Yes and a No

In case you don’t belong to that tribe that goes to Kassel every five years [and to Venice every two] no matter what, here come a few questions about documenta 14 – Kassel answered with a yes or a no. They might be helpful for making a decision about visiting; there is still some time left till 17 September when the event wraps it up.

– Is it a contemporary art exhibition?
– No.
– Does it contain contemporary art?
– Yes.
– Does it contain art?
– Yes.

– Does it show spectacular art?
– No.
– Does it have big names?
– No.
– Is it a sample of something?
– Yes.
– Is it provocative?
– No.
– Is it political?
– Yes.

– Is it for everyone?
– No.
– Is it sophisticated?
– No.
– Is it sentimental?
– Yes.
– Is it conclusive?
– No.

– Does it deal with innovation and the trend of Art & Science?
– No.
– Does it show:
textile, painting, installations, audio-video works, craft, memorabilia, archival pieces, texts, sculptures, etc.?
– Yes.
– Is this all avant-garde?
– No.

– Is it worth visiting?
– Yes.

P.S. More articles about documenta 14 to come: one about textile art and one more general, at least.

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When the artist departs

When the artist departs

Away from the institutional art scene.

I was preparing myself for a light new article, as too much darkness had weighed on my writings this last period. Let me be a blasphema (I always wanted to use this word as hilariously pronounced by the English speaking crowds in biblical movies), but well, art is not worth dying for. I had planned to put this blog through a digital analyses, something in the line of digital humanities, where words are retrieved and counted and you get a graph, or even a more elaborate image, of what your blog is about, its atmosphere too; a fun way to see what we are talking about here.

But, the devil has it, that I received as present the book ‘Tell them I said No’ by Martin Herbert (Berlin: Sternberg Press, 2016) which, in ten documented essays, talks about artists who took a distance from the art-world or dropped it completely; with enough variations to fit the cases of ten artists. The content of the book is well described in this article/ interview with the author: ‘Goodbye to All That: Why Do Artists Reject the Art World?

The departed artist is a critic of the field where in he/she is asked to work. With the exception of the painter Albert York (essay title ‘The Next Hill’, pp. 29-38),  and the anarchist/ activist Christopher D’Archangelo (essay title ‘Forever Incomplete’, pp. 83-94), the presented artists have operated within the main stream art-world and the accepted game of status-acknowledgment-trend (of institution and artist equally). They departed after having ‘earned the right’ to retrieve themselves from all this; once the safety valve was secured.

What kind of virtue is silence if your stand is forgotten by art history, […]? (p. 44)

When the artist departs without having secured the safety valve he/she commits professional suicide. Yet, this may be the only decent act to do. Because professionalism in the arts presupposes reduction. Nevertheless, we hang our wares out in the light; nowadays our head too, more and more.

A big part of the artist’s role now, in a massively professionalized art world, is showing up to self-market, being present. (p. 11)

The notion of ‘professional artist’ is a dubious one. We never know whether it is there to help the artists or to dig their grave. When it helps, for ex. in claims to be paid (like, with money) for work done, or to request a societal status from the authorities, which in principle resumes in to being allowed to actually do their work and not any other work in order to exist, the word ‘professional’ has a value as in any other work field. Artists, in the course of time, have been professionals, meaning that they were getting paid for their work, unless they were monks or tribe craftsmen. The crafts aspect of the art is more than anything prominent in this deal. There was a demand, a kind of need, for the artwork, and the artists offered their work as a service. We’ve been told that this deal has faded away (or was deliberately broken), yet what was annihilated was the status of the artist in society; the authority, monetary or political, still gives out the cards: prestige-money-presence (in art history). Plus, in countries solely ‘success oriented’ like the Netherlands, art projects are not welcomed (not even by fellow-artists) if not carrying the stamp (or the aspiration) of institutional approval, most often translated into a state subsidy; thus, usually such projects are not attempted.

Within this, the artist-celebrity blurs the situation even more. Is it a joke, a blaspheme, or an exposure of the art world as it is, the artists-stars (think for ex. Hirst, Koons, etc) show in their egocentric extremity that art can be a reality show and thus not only is not worth dying for, but it is not even a field for decent people. Vanity is the opposite of the holy grail. You can not claim to set off for both.

[…] artists don’t have to have long careers. A starburst can be enough. (p. 110)

The artists’ course (career included) is not linear, as there is no given path, and it certainly does not have to be public in its entirety. Plus, the more private the less compromised.

“It is painful for me to face the fact that art cannot contribute to the solution of urgent social problems” (p. 42)

The poetical, although seen as not engaged, can be more subversive because it does not fit the ‘narrative’ of any institutional authority. It is usually appreciated in out of time-bound context and when the official history (of art) is revised. Nothing useful for the artist here either.

The book provokes a plethora of thoughts about the reviewed artists, about the dominance of conceptualism, and indeed about the self-destructive aspiration for becoming an artist. It is written with lucidity, and with sympathy for the departed artists. For artists, it is good to know that there are other options than what the art school proposes and what the institutions suggest one should be busy with (brand yourself?). Whatever this is, don’t do it.

P.S. 1 No endnotes, though this piece could have them.

P.S. 2 The images are from the exhibition ‘De geborgen kamers van Transvaal’ (the secured rooms of Transvaal), set up in 2006 by Stichting Gaidaro in the closing-down part of the street Brandtstraat in the neighborhood Transvaal in The Hague (NL), a few months before demolition started. It was a composition of aesthetic rubble and sound, that no one saw, except of the artists and one or two close friends.

P.S. 3 A list of key-words should come in a future article on this blog. The language manufactured by all those working (and earning) around the artists gets probably the highest score among art impact factors. Brains have been shaped upon them. Art works have been pronounced as such through them. Key-words put the work into recognizable and measurable context; if the work cannot be worded, it cannot exist. Mambo jumbo it is; and yes, the world is turned upside down (these do not belong to the key-words list).

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