ARCHIVE - 12/16/09 - 6/8/10


  1. Rivane Neuenschwander: A DAY LIKE ANY OTHER

    Comment by Admin — June 08, 2010

  2. dear Admin, could you say something about this work?
    I don't know this artist's work

    Comment by Chris Sands — June 10, 2010

  3. June 23, 2010 at the New Museum…Neuenschwander's "A Day Like Any Other, merges Brazilian Conceptualism interdisciplinary practice:
    I Wish Your Wish 2003; First Love 2010; and Walking in Circles (2000) will be installed at the church of Nosso Senhor do Bonfim in Salvador, Bahia.
    The faithful tie silk ribbons to their wrists and to the gates of the church – their wishes are granted when the ribbons wear away and fall off.
    For Wish Your Wish, hundreds of similar ribbons will be printed with visitors' wishes from past projects, and will hang from the gallery walls. Visitors may want to remove a ribbon, tie it to their wrist, and replace it with a new wish written on a slip of paper, as new ribbons and dreams get generated.
    For First Love, a police sketch artist will sit and listen to visitors describe the faces of their first loves; the sketch artist will then produce portraits of these "first loves" to adorn the walls of the gallery for the duration of the exhibition.
    Rain Rains 2002, is an environment of leaking buckets that are controlled from flooding by a Sisyphean recirculation in four-hour cycles.
    The second immersive work, The Conversation 2010, in homage to Francis Ford Coppola's revolutionary 1974 film, investigates the systematic invasion of privacy in an era of dangerously purposed technology…

    Comment by Violet — June 11, 2010

  4. I would be interested to learn more about Rivane Neuenschwander's work as well. Although I won't presume to even begin to understand what this means to Neuenschwander, the title of the piece, "The Fall," says a lot to me. I am reminded of the fragility of the 'eg(go),' its precipitousness and precariousness…it rolls to one side or another by a jerk of the body, a push of the other, or the force of the wind, and it "falls"… it cracks as all 'eg(go)s are prone to, indeed, it seems that is its eventual purpose.

    The fall though can be messy but doesn't have to be. It depends on its state (could there be a hatchling?) or the condition of the environment, will it be used to nourish us? It can be a mess, but it can also give way to something different, better, and helpful. Much depends on perspective. What is important to me however, is the potential of that eg(go) on the spoon, and how much the eg(go) needs to be balanced like that on the spoon if it is to ever realize its potential. After all, without the fall, there would have never been no salvation for humankind…

    Comment by ikkonn 06.11.10

  5. I like that eg(g)o and the fall story ikkonn.
    I like the image much more now.
    Has anyone discovered anything more about this artist/
    ?

    Comment by sol 06.14.10


  6. Rivane Neuenschwander

    Comment by admin 06.16.10

  7. My ceiling looks a bit like that…just that my pots are up against the ceiling…

    Comment by violet 06.19.10

  8. where they may fall?

    Comment by sol 06.22.10

  9. No sign of cats and dogs though!

    Comment by Chris Sands 06.23.10

  10. Yes, there is the cats and dogs- water falling into each bucket coming from another bucket

    Comment by violet 06.29.10

  11. Have been working on a long project that started before radiotherapy and I seem to be near an ending. At last I almost like photos in a persistent photo-text and for once I quite like something in the third of three videos (made to be shown in close proximity). What's terrible about all this is falling out with a close friend, more so than another operation coming up. Love is such a difficult thing

    Comment by Chris Sands 07.22.10

  12. The thought I had this morning is
    how is there ever time to put on shows
    any more
    and if there's increasingly no time
    these days,
    could somewhere like this symposium
    become a repository of sorts.

    A repository
    with the added advantage
    that
    psychoanalysis implies
    talking about,
    and the work of art
    implies talking about (a sorry state of affairs)
    warrants
    one last acting out.

    As for Kafka, the singing mouse and
    Zizek's suggestion
    (I think)
    that
    the viewer
    still
    makes
    a demand …
    Fernando Pessoa wrote:

    I never wanted to be understood by other people. To be understood is akin to prostituting oneself. I prefer to be taken seriously for what I am not and to be, with decency and naturalness, ignored as a person.

    Comment by Chris Sands 08.09.10

  13. Dear Admin,
    Would like to insert image of work by Gert and Uwe Tobias
    Am using an iPad and haven't come to terms with how it works.
    If okay will leave choice of image to you

    Comment by Chris Sands 09.12.10

  14. Just before my op I saw an exhibition by Gert and Uwe Tobias at the Nottingham Contemporary (which is really an impressive new art place in the English midlands). G and U are Romanian twins working in Germany and their work sometimes takes the form of large scale coloured woodcuts. Here it seemed were two artists producing work somewhere between Paul Klee and those more contemporary Japanese 'super flat' artists. The work was quite beautiful but unsettling! Unsettling because I didn't really know whether I liked it!
    Perhaps this is not so important, but the work's unsettling quality sometimes pervaded post op morphine influenced thoughts in hospital. How much of art is influenced by the uses, humane or otherwise, that the poppy is put to?
    Is there a question here?
    Does the question have to do with poppies and the likes of morphine or does it have do with an 'ordinary psychosis' which seems to accompany those first few days after a big operation (certainly in my case!). I hope there really is a question here …?

    Comment by Chris Sands 09.12.10

  15. by Gert and Uwe Tobias at the Nottingham Contemporary

    Comment by violet 09.12.10

  16. Monica Szewczyk in a paper called Art of Conversation (part2) in e-flux journal 2009, talks about a place for conversation(s) in contemporary art since the early 1970's, at some point referring to a pioneer of 'art as conversation', Ian Wilson, who for forty years years has organized unrecorded conversations. The point being that this work is only remembered by a small group of participants.
    Much work involving other artists concerned in some way with conversations have nevertheless recorded or kept traces of their work but Wilson is steadfast in his refusal to document or record.

    Is there not a curious parallel with Lacanian subjectivity here? A subjectivity that privileges the interpretation of the analysand or highlights the analyst's subjectivity when it comes to case studies? Is Wilson's work somehow exemplary?

    Comment by Chris Sands 10.06.10

  17. Chris Sandsssssss!! welcome back. How are you? This time there was an impressive silence during your absence, in both the symposium and the messageboard. It's been close to a month ——so nice to have you back!
    Your post is touching on a very attractive matter. In Cologne — Germany — during the 80's the conversation issue took an important art character around artists like Kippenberger — they developed their own code, included the art of sarcasm and the skills to bare directness. And the frankness was at times brutal, to a point Kippenberger, Dokoupil, came to be known as bad mannered in a higly cultured way. They would always say what they thought, no matter how sexually motivated or full of defiance was what they said

    Comment by violet 10.07.10

  18. Hi Chris, hello Violet,

    yes not only were there no conversations
    there was also no recordings while we waited
    for you to burst back in!!
    I am very happy that you're well enough to be back.

    Comment by sol 10.08.10

  19. Comment by Chris Sands 10.30.10

  20. creepy

    Comment by sol 10.31.10

  21. I think a studio is something and thinking this I imagine one more accessible, warmer, with windows.
    That's me!

    I remember, here, once upon a time, suggesting what became perhaps the very short project – what do you see from your window – possibly remembering Lacan's Baltimore view or Gerard Wacjman's Intime.

    I would like to suggest another mini project (not the right word) which might have something to do with what for me is a personal predicament. I will phrase it as a question and the question is -

    if you have or had a studio, how would you describe it?
    What would your studio be like?
    Do you have a studio?

    Comment by Chris Sands 11.18.10

  22. Following your quote concerning Jo Beuys on the messageboard, perhaps a studio can be a burrow … (or Sol's creepy space) ?

    Comment by Chris Sands 11.20.10

  23. Ooops!
    Comment 22
    is addressed (initially) to Violet

    Comment by Chris Sands 11.20.10

  24. Comment by admin 11.21.10

  25. Chris — A studio can be a borrow -it should have to be less sunny than mine – however the way you can close/enclose yourself up in there, could make it a barrow, of course.

    Comment by violet 11.21.10

  26. In fact its rooms in what was a Napoleonic fort (with very thick walls)

    Comment by Chris Sands 11.22.10

  27. don't we love thick walls, specially for the kind of studio we want in concern with analysis — but little by little it is the "sheetrocking business" — already a verb!

    Comment by violet 11.27.10

  28. My rooms are not at all creepy- that's
    just my mind!
    They have big windows onto a balcony
    and one wall of 40's wallpaper, but
    they are cold in winter because of the high ceiling.
    Once, I had a studio above a Macedonian
    bakery. It was warm and smelt good.
    I remember two real things from there:
    cracking a tooth and falling from a ladder.

    Comment by Sol 11.27.10

  29. My studio is across the hallway, a separate apartment. In the guise of a loft, although small as such, it has 4 enormous windows, and those windows are low enough so as to provoke occasional vertigo when I look out from the 7th floor, and tall enough for the raising sun to bathe it all to a point that I need to protect the color in books and paintings… The most vivid memories come from the analysands, lying, talking on the couch… and also from sporadic guests that sleep on the sofa that becomes a bed… and from secret occasional phone calls

    Comment by violet 11.28.10

  30. Saw images of newly built Pompidou-Metz

    http://www.centrepompidou-metz.fr/

    The night shot seems an inspiration
    - and am hoping
    Admin
    can reproduce it here??

    Comment by Chris Sands 01.29.11

  31. Comment by admin 01.30.11

  32. Chris — Would you say of this Centre Pompidou – Metz building that its architectural frame is inspired by Gaudi ?

    Comment by admin 01.30.11

  33. A Gaudi inspired, Gerard Wajcman interiors, mushroom

    Comment by Chris Sands 01.31.11

  34. Chris… how are you doing healthwise?

    Comment by admin 02.10.11

  35. Happy Valentine Chris!

    Comment by violet 02.14.11

  36. Happy Valentine Chris!!

    Comment by Sol 02.14.11

  37. Thanks so much Admin and Sol.
    What can I say?

    Am just back from London (dreaming about someday exhibiting in mushroom!) having had another operation, but feeling well.

    I have another op in ten weeks but this is minor and hopefully it's now all about a return to rude health. I can't do much at present but am enjoying a pensiveness.

    If I'm storing up something, perhaps it involves a what to do workwise (as an artist) having experienced serious illness. So, using my energy, such as it is, to find some expression tying together current work and illness with a view to collaboration.

    Will publish some material in a few weeks in blog form, but just now it seems a little too intimate, too close. It may take some time!

    Comment by Chris Sands 02.16.11

  38. Below is a little excerpt from ongoing work, which has something to do with the above, it's possibly a voice-over text

    ………….
    'After not saying very much' can be the title and the video can prop up current work
    to do with an expression alluded to online (today). Can I say what it is about? A biography? Preoccupations and an urgency? I imagine a text splashed over some wall, better still tucked into a (Gaudi inspired) mushroom. How much is there already and how much voice-over can a video installation bear?

    Where do I begin?
    I have something to say but don't have the words to say it.
    At the end of today's video there is a minute or so, but there can be more. There can be more than the sound of your voice, but not much more. It has to do with intimacy, a reticent mushroom … the possibility of collaboration. The mushroom is a new museum in Metz and collaboration has an unfortunate connotation.

    With my threesome (intimacy, mushroom and collaboration) there can also be 'funny moments'. Funny moments like coming home after an operation, sitting at my mother's piano, dreaming up an exhibition to include video clips or stills of my mother playing and an exhibition text which makes no reference to therapy but implies collaboration. There can be reference to illness, energy and joined up pensiveness inside a mushroom. Video is more than a prop.

    Where does the piano come in?
    I don't know but would like to scrawl something across wall in some far off mushroom.
    ……………………………………

    Comment by Chris Sands 02.16.11

  39. Comment by violet 02.23.11

  40. Photo/still by Chris Sands.

    Comment by admin 02.24.11

  41. This photo was taken (some years ago) through the window of a bar in St Malo ferry terminal, on the way back from seeing Pierre-Gilles G in Rennes.
    A forgotten image!

    Comment by Chris Sands 02.26.11

  42. I like it

    Comment by Sol 02.28.11

  43. So do the sea gulls

    Comment by Sol 02.28.11

  44. My mother, who died last year, (for many years) fed a particular seagull, which is completely against the rules in a seaside community!
    This long lived bird still visits the garden and it seems I've inherited my mother's occasional transgressions!
    Last night I saw Mike Leigh's 'Another Year', which in some way muses the subject of therapy, sadness (depression, misery). It tells the story of Tom and Jerry and a group of friends and relatives who seem to depend on the couples' generosity and love. Jerry is in fact a counsellor and the film begins with a very unhappy Amalda Staunton attending sessions with Jerry. There is no insight into therapeutic process here, but the film unravels a series of interactions (mainly at Tom and Jerry's house), which compensate for lack of subtlety in the counselling sessions. It seems to be a film about happiness or the potential of happiness and I'd recommend seeing it.

    Comment by Chris Sands 03.01.11


  45. Photo/still by Chris Sands.

    Comment by violet 03.11.11

  46. I want to talk about something other than wind in room with silent clock and there's no use keeping pen under pillow. A seagull lands on the roof and I use up all the bread in a dream.
    (from text called 'intimacy')

    Comment by Chris Sands 03.13.11

  47. Photo/still by Chris Sands.

    Comment by violet 03.16.11

  48. Mmmm
    am being pursued by my own stills.
    With comment 46, I inserted a text which referred to a seagull, but in this instance add (intimacy') text following on from 46

    'Something blocks, unblocks and despite this (and the effects of an operation), an explanation as voice-over fails. A working through fails when half the world sleeps and the modem is off. Could it be that I'm beginning to bend over like that second half?'

    'Beans are spilt.
    It seems I sometimes get up to write and (much later) text is added to an ongoing something, but (the question is) what to do with collated fragments? Could I one day start somehow conflating ends and means? Is it possible? Is there time?'

    'There's a yawning and if ends and means merge with the work of art, there's much to said for night-time yawning and a night-time merger.'

    Comment by Chris Sands 03.21.11

  49. sounds like a merger is worth a wager..

    Comment by Sol 04.02.11

  50. Comment by . 04.12.11

  51. A merger with mysterious author!

    Comment by Chris Sands 04.15.11

  52. CDS —are you sure it is not an other one of those…………hunting you?

    Comment by violet 04.15.11

  53. who was hunting and what about the question of the particular seagull?

    Remember the old photo you posted of the fortifications, or barricades – where they on your island since the 2nd world war Chris?

    Comment by sol 05.01.11

  54. Sorry for delay in replying, images might have been of Napoleonic fort, where I rent studio.

    Comment by Chris Sands 05.09.11

  55. How is your health doing, and are you taking good care of yourself, Chris Sands?

    Comment by violet 05.10.11

  56. Am okay. There's lots of wear and tear following two ops, but discomfort, not pain. Am having to think how this will eventually effect being able to work. I write, am making films and spend time painting at studio but don't know how much of a therapist I will be, as supervision, analysis and NLS involve tiring trips to London etc. So there's much to think of and a decision about new circumstances, sometime, could involve making best use of reduced but (hopefully, a desiring) energy. Will provide new blog address here in a few days, with new photos etc. Thanks Violet

    Comment by Chris Sands 05.10.11

  57. Have posted a little blog at
    http://chrissandsandinsomniaproject.wordpress.com/

    Comment by Chris Sands 05.17.11

  58. YES Chris , I borrowed this beautiful image

    Comment by violet 06.25.11

  59. Thanks Violet your kindness is touching.
    This production still was shown recently (in a small gallery that runs alongside my studio)
    but withdrawn after a few weeks as mounted photos and texts were effected by damp conditions.
    They were replaced by another set that somehow support two video loops.

    Comment by Chris Sands 06.27.11

  60. so, what if jesus went through lacan's symbolic order?: http://freedonuts.typepad.com/conclave/20

    Comment by atravelersnote 07.08.11

  61. I've been looking at two texts. One by Jacques Alain Miller is called 'Reading a Symptom' and the other forms part of a series of conversations by Hans Ulrich Obrist, printed in the E-Flux journal: this one is 'In Conversation with Julian Assange' (see 2 most recent editions of the online journal).

    Both texts seems very significant, but to reduce space I'll paste two short passages below, then comment perhaps later. Both articles seem significant events and the net fortunately highlights what can be 'important stuff'.

    (1st excerpt)
    Reading a symptom … consists in severing the symptom from meaning. Moreover, this is why Lacan replaced Freud's interpretative apparatus – which Lacan formalised and clarified with the Oedipal ternary – with a ternary that doesn't produce meaning: the ternary of the real, the symbolic and the imaginary. But in shifting interpretation from the Oedipal setting to the Borromean framework, the very functioning of interpretation changes and switches from listening for meaning to reading the meaningless.

    When we say that psychoanalysis is a matter of listening, faut s'entendre![8] In fact, what we listen for is always meaning. And meaning calls for more meaning. All the different psychotherapies stick at this level. They always wind up with the patient having to listen to the therapist. For us, on the contrary, it is a matter of exploring what psychoanalysis is and what it can do at the level of reading strictly speaking, when one distances oneself from semantics. Here I would refer you to the precious indications on reading that can be found in Lacan's text 'L'Étourdit', which you will find on page 491 and thereafter, [9] on the three knotting points of homophony, grammar and logic.
    - from Reading A Symptom, Jacques-Alain Miller

    (2nd excerpt)
    Julian Assange: Yes, many. I'll tell you about one, which is interesting. Orwell's dictum, "He who controls the present controls the past, and he who controls the past controls the future," was never truer than it is now. With digital archives, with these digital repositories of our intellectual record, control over the present allows one to perform an absolutely untraceable removal of the past. More than ever before, the past can be made to completely, utterly, and irrevocably disappear in an undetectable way. Orwell's dictum came about as result of what happened in 1953 to the Great Soviet Encyclopedia. That year, Stalin died and Beria fell out of favor. The Great Soviet Encyclopedia had a page and a half on Beria from before he fell out of favor, and it was decided that the positive description of Beria had to go. So, an addendum page was made and sent to all registered holders of this encyclopedia with instructions specifying that the previous page should be pasted over with the new page, which was an expanded section on the Bering Straight. However, users of the encyclopedia would later see that the page had been pasted over or ripped out—everyone became aware of the replacement or omission, and so we know about it today. That's what Orwell was getting at.
    - from 'In Conversation with Julian Assange' by Hans Ulrich Obrist (see online E-Flux journal)

    Comment by Chris Sands 07.17.11

  62. Thanks Chris.

    Re passage1:
    I don't think we always listen for meaning though, do you?

    As an everyday example, I think about when I am on a train
    and I cannot hear the words properly, or don't know the language. It's
    not like music I don't think, what I'm listening to,
    I know it is speaking and conversation, and I listen into it.

    Re 2:
    Orwell, ha!
    I just bought a copy of 1984 for a young friend's 13th birthday!
    I realized that I do think it's a classic.

    Comment by sol 07.18.11

  63. Thanks Chris.

    Re passage1:
    I don't think we always listen for meaning though, do you?

    As an everyday example, I think about when I am on a train
    and I cannot hear the words properly, or don't know the language. It's
    not like music I don't think, what I'm listening to,
    I know it is speaking and conversation, and I listen into it.

    Re 2:
    Orwell, ha!
    I just bought a copy of 1984 for a young friend's 13th birthday!
    I realized that I do think it's a classic.

    Comment by sol 07.18.11

  64. I like JAM's reference to psychotherapists winding 'up with the patient having to listen to the therapist' and Jacques Alain Miller's arguement in general ('reading the symptom').
    Its a study text available at
    http://www.amp-nls.org/en/template.php?sec=congres&file=congres/2012/argument.html

    In everyday life, being drawn into too much interpretation can be 'troublesome', to say the least!
    Julian Assange has things to say too, and the E-Flux passage above also suggests what I think might be called 'an interpreting in the real'.

    Comment by Chris Sands 07.18.11

  65. It sounds like you have your energy back Chris..
    good to hear. I'll have a look at the two you refer to,
    thanks

    Comment by sol 07.19.11

  66. Have added a little to blog
    with
    excerpt from photo-text called 'curriculum vitae'
    at
    http://chrissandsandinsomniaproject.wordpress.com/

    Comment by Chris Sands 08.01.11

  67. Gosh its quiet here!
    Trying to 'reinvent' myself as an artist who puts his work 'out there', in a Boris Groys sense, have been working for a while on an 'extended curriculum vitae' (photo-text, video) and this morning noticed elegant use (I thought) of e-flux's 'time bank' idea and reference to an exhibition at Stedelijk Museum Bureau Amsterdam under heading of 'Informality: Art, economics, precocity'.
    The show referred to is at http://www.smba.nl

    The Time Bank, time exchange idea is interesting…
    For health reasons (I think) I'm probably stuck here, on a little island, at the moment, but can think of at least two things I'd like to do in exchange for conversation and wile-ful intent, on my part.

    First and foremost, because I can't get to New York or anywhere else, just now, I'd ask someone to spend a few hours with Josefina, then tell me all about it, in exchange for a conversation concerning the second part of my plan to use the Time Bank once more to secure some kind of 'stay a home' (artist's) residency.
    To be more clear, will post some information on blog in next few days, particularly regarding what's meant by a 'stay at home artist's residency'…

    Comment by Chris Sands 08.11.11

  68. Chris Sands , I was away for the summer, far away from NY, and that's why I've been slow with editing the messages… Makes me happy to read of how well you are, even if you are stuck there, in your little island, for a little while

    Comment by admin 08.16.11

  69. To reach you again (looking at the above date) I should time-travel too…
    How was 'What is a picture?'

    As can be seen above, as well, am delighting in texts by Boris Groys (online at E-Flux journal)
    and can make the best of a second shared studio in 'an age of digital reproduction',
    but I do miss the occasional seminar.

    Comment by Chris Sands 09.14.11

  70. What is a picture went very well, thank you Chris……it's such a nice chapter —all about proving the gaze is outside.

    Comment by violet 09.17.11

  71. Chris.. Sol…… we have a new Symposia…!

    Comment by violet 09.27.11

  72. I like the 'speak!'

    Comment by sol 10.04.11

  73. egg shell pink

    Comment by sol 10.04.11

  74. Am working on a new website to include some recent work,
    but in the meantime have added a slightly Lacanian project proposition
    to a slightly dubious blog
    at
    http://chrissandsandinsomniaproject.wordpress.com/

    Comment by Chris Sands 10.23.11

  75. …I wrote this after seeing an e-Flux text (see http://www.mot-art-museum.jp/eng/2011/berlin/index.html) and reading descriptions of a contemporary imperative in the book 'Lacan and Addictions'. What's odd, I suppose, is taking the time to say something without seeing the work in question.

    …For some reason, I liked the idea of something going on in Berlin and a Tokyo exhibition called 'Berlin 2010 – 11: Playing among the Ruins'. An e-Flux write-up refers to a new post Berlin Wall sensibility and an exhibition title implies a moment that enables play, as if two bad parents had stopped quarrelling.

    I might be thinking of Winnicott here, but in a Lacanian sense, something left over, even if it's the energy of children, ties into descriptions of the object a … and when it implies a jouissance, playing among ruins can be an antidote to the contemporary prescription, 'let's party!'

    Is this too much of a mouthful?

    I hadn't (at first) seen online images from this show, but playing among the ruins is evocative. It evokes 1945 Berlin imagery and the thought that capitalism, like communism before it, is in ruins. The e-Flux text refers to something special going on in Berlin and to a political, economic and cultural laboratory, but any show these days should avoid grandiosity and keep its head. I look online at the Museum of Contemporary Art in Tokyo. The work seems somehow arbitrary and in the museum article there's even mention of 150 years of Japanese, German friendship.

    I begin to feel at a loss. An idea trapped in a title that promises so much seems lost. We might then look back at a floating world caught up in an age of digital reproduction … at a time of ruined play and jouissance.

    A recent e-Flux journal editorial refers to hard times ahead for artists. If psychoanalysis revolutionizes the social bond, artists in an age of digital reproduction can move beyond brand names. Curiously, Terry1, next door (on the messageboard), recently referred to this site as a brand name. A brand like any artist's name, psychoanalysis or some slow-time online conversation, keeps some in an

    Comment by Chris Sands 11.01.11

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