Ordering books and combing the sea waves

Ordering books and combing the sea waves

This happened.

I was trying to order the books I had recently read; at first only mentally, as the physical order did not seem so imminent. Or was it a matter of difficulty in combining the idea of order with any kind of action? Order in action holds a sense of compromise, an aroma of conservatism, a swamping in conformity. Nevertheless, sometimes the rigidness of all that can be a safety net for the high flyers or an air bag for the perpetuate thrill seekers, if you wish.

Still, the idea of ordering my books did not even pass the mental phase; it rather provoked a self-annihilating categorization. Like trying ordering the sea waves according to those that reach the shore – the accomplished ones – those that vanish before the end, and those that seem to turn back to the main sea-mass without achieving anything individually.

Combing the sea waves is the picture I see when thinking of ordering books. Less importantly, this is also the urge I get (to comb it) when looking at the sea; even more when the capacity for getting any pleasure of it is dimmed down (the idea itself that the sea is a panacea oppresses me; certainties of any kind look like whirlpools; conclusions point to rooms without windows, etc.).

But, back to order and ordering books: If you can comb the sea waves even mentally, it is worth trying ordering your books.

p.s. All objects of awe, just to name music, writings, and the sea, cause the sharpest pain in periods of sinking.

p.s. 2 Please, don’t send me algorithms (poetry is always welcome)… (but can it categorize?).

 

‘From Lausanne To Beijing’ 9th International Fiber Art Biennale

‘From Lausanne To Beijing’ 9th International Fiber Art Biennale

While I was drafting in my mind posts about historians who love to tell stories, and families who loved printing books, and poets who were actually earning money, all somewhere in the far past, the message from the organizers of the 9th International Fiber Art Biennale ‘From Lausanne To Beijing’ arrived. My submission has been honoured; four works belonging to the series ‘continents’ will be part of this fantastic exhibition. This is part of the announcement:

“221 excellent artworks (104 from China and 117 from overseas), which make approx 23% of the entire entry, are juried in for display at the upcoming Exhibition. (入选作品221件(中国104件,国外117件),总入选率约为23%)”

It is the third time that I participate with my textile works in this biennale. The first time, in 2012, I took the trip too, to Nantong, some hundred kilometers from Shanghai. It was a bliss to see the exhibition, but also to be treated with real honour and abundant hospitality. Of course meeting so many artists busy with textile was also a mind opener. This time the exhibition will take place in Shenzhen, a dreamtime modern city. It is close to Hong Kong; does this make the trip easier, I wonder. Anyhow, I am tempted to go, but then I need to find a sponsor very soon.

In the meantime, I will pack and send the works within the coming days. Updates will be coming here and on Atelier Kapnos fb page.

fiber_shenzen_2016

 

 

 

The layers of a master thesis

To say that two subjects overlap, when you think about – or in – art is not slightly close to what is really happening. The same goes for writing. And then comes academic writing with the dispassionate voice, the precise language, and the rigorous documentation. The overlapping subjects, the layers, for example of a master thesis must be laid out in the light and left there to dry. Nothing must show affection, though you are advised to choose a theme that intrigues you, at the least. (no footnotes here)

So, here I am: before sorting out my notes for the SAR conference, or the Flusser symposium, I threw myself into this new set of layers, my master thesis. My theme (no title yet) includes research about a woman whose only voice left is her friends’ book, and a note in the similar album belonging to her sister. She is the daughter, wife, and friend, of historical figures, these being artists, writers, publishers, etc. Clues: she was Dutch, from Haarlem, lived from 1846 to 1930.

Starting from the Leiden University Library, which preserves her album amicorum, I then started looking in archives, first in the online ones in order to see what is there. Some of them, like the RKD (Netherlands Institute for Art History), provide download and print options; as example, look at this image of a painting by Anna Veegens. Others, like the Leiden Archive (Erfgoed Leiden en Omstreken), provide a detailed online inventory, which you can then physically access without complicated procedures. There, I found a photograph of my ‘Dora’, which I still have to double-check, as it is not sure it is really her picture. Yesterday, I found online her signature, on the wedding act of her daughter (in 1906). Further, I have planned a visit to the Haarlem archive, next week Tuesday. Today, I continue writing, and in the same time looking for, or requesting information. The thrill is growing.

In the meantime, I did appreciate a lot the keynote speech of Christa-Maria Lerm Hayes, at the SAR conference, and her thoughts about the ‘humility of the footnote’ in opposition to the ‘posturing’ of the footnote; this, among many other interesting thoughts and statements. It was a full and exciting speech this one. (footnote: illustration 2)

The forum, about ‘writing and the art school’, somehow focused on master thesis writing by art students, was equally interesting. I appreciated the simplicity of their conversation language, and the sense of inclusiveness in their approach to academic writing. Now, I go exercise my ‘voices’. (footnote: illustration 1)

[for the period of writing about the thesis, I am thinking of making the blog reach more private, by limiting authomatic publishing to my fb atelier page only]

Forum: Writing and the Art School, with Kate Briggs and Daniela Cascella
Illustration 1: ‘Forum: Writing and the Art School’ with Kate Briggs and Daniela Cascella

 

Artists' (Academic) 'Writings in Academic, Artistic and Societal Force Fields' by Christa-Maria Lerm Hayes
Illustration 2: ‘Artists’ (Academic) ‘Writings in Academic, Artistic and Societal Force Fields’ by Christa-Maria Lerm Hayes

Writing and/in/about Art

International Conference on Artistic Research, The Hague 28-29 April 2016, University of the Arts The Hague & Leiden University, Venues: Royal Conservatoire and Royal Academy of Art, by SAR: Society for Artistic Research

It is more lexical than I thought.

The discussion is about writing and art, with the ‘in’ and ‘about’ art prevailing. Art described as a disruption to the organisation of the human life was a good start. Only the disruptions presented were surprisingly orderly. The ‘f***-up’ suggested (Alva Noe), and warmly embraced, as defining better the nature of disruption, was scarcely represented in the workshops; for example, as a rumour (Dean Hughes), and in the performative talks that followed, as sound-scapes (Salome Voegelin).

OK, more notes to decipher.

(And then day-2 to go through)

 

'Art and Philosophy' by Alvo Noe
‘Art and Philosophy: Taking Aim at the Invention of Writing’ by Alva Noe
'Writing about the Sound of Unicorns' by Salome Voegelin
‘Writing about the Sound of Unicorns’ by Salome Voegelin
'A Column of Air' by Redell Olsen
‘A Column of Air: Flickers/Writing/Painting’ by Redell Olsen
'Exposion Writing: Radical Epistemology' by Michael Schwab
‘Exposion Writing: Radical Epistemology’ by Michael Schwab

 

Notebook from the symposium ‘Transcoding Flusser: Synthetic Thinking’

[only the notebook pages with both text and image]

No better way to pick it up where I left it: at the academy of visual arts in The Hague (KABK). It’s been some time since I posted anything on this blog; life is full, or the mind is empty. Whatever it is, or was, writing and drawing come to the surface, pinching me to go further. Am I not lucky?

What was discussed at the symposium could fill a number of posts. But I first want to see the exhibition at West (the gallery was also the organiser of the symposium in The Hague). Already on their website there is a lot of interesting material from the Flusser archive (Berlin) and from the symposium.

Only one note for now: Yes, it would help a lot the non-experts in philosophical terms, if the ‘model for energetic dialogue’ would include a walking-in-room kind of aspect. The openness about this of the initiators, who also convened & moderated the discussions, Dr. phil. Baruch Gottlieb & Steffi Winkler, is highly appreciated. Thanks!

Transcoding Flusser: Synthetic Thinking
International symposium: Friday 15 April 10.00-18.00h + Saturday 16 April 11.00-16.00h | Auditorium, Royal Academy of Art The Hague

01_flusser_symp_notes_web 06_flusser_symp_notes_web 02_flusser_symp_notes_web 03_flusser_symp_notes_web 04_flusser_symp_notes_web 05_flusser_symp_notes_web

Art and Science at KABK (Royal Academy of Visual Arts)

Art & Science is the most popular programme of the Royal Academy of Visual Arts in The Hague (KABK). Students get busy with sounds and images generated by analogue or electronic devices.

For those who are interested but also for those who don’t have a feel for such things, the fact is that there is a new generation out there acquainted with this concept; and backed up by the usual mentors too.

During the open day, last Saturday, I made this short video; the impression is characteristic of the field “art & science” as it is also seen in big art events.

P.S. The use of old machines and cutlery in order to make sounds referring to the noise of the humans has a sense of an ending. Maybe they have found what we all have been searching for as meaning, concluded in absurdity.

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Vive la République!

I believe in the peaceful anarchism of art.

To all those who dream of “armed resistance” within states that have learned to tolerate: where saying your opinion/ exclaiming your positions does not jeopardise your safety; where possible expressions of state oppression is in the critical discussion. When your opinion fires out violence by a mafia, be it economical, religious or dogmatic in any way, democracy has mechanisms and services to which you, we together, can appeal. Advocating for armed fight in such a state means that we are asked to put our destiny in the hands of persons who cannot be persuasive by using words and images, should they ever try.

Indeed, our Democracies fail to provide substantial education equal for all its members, or equal opportunities, yet do stand for it as principle. There is people’s blood shed (Vive la République!) for this principle and we consider it irreversible. Provocation by the pen and the imaginative image sided by a good laughter are meant to shake all parties brains in order to think; in present tense. What in life’s name haunts such killers?

P.S. Urgently: art and philosophy as main subjects in all schools

"we'll meet again", 100x150cm, S.K.
“we’ll meet again”, 100x150cm, S.Kapnissi, #jesuischarlie

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#PAnarchism