June 2011
1 post
Dryness loves neon
May 2011
31 posts
Everything must be entered, deciphered and passed on. Artists are like everyone else- redistributive nodes in a network, referring elsewhere, unfinished, points of aggregation in a floating mass… ‘What a time you chose to be born!’
‘the roots of opportunism lie in an outside-of-the-workplace socialisation marked by unexpected turns, perceptible shocks, permanent innovation, chronic instability. Opportunists are those who confront a flow of ever-interchangeable possibilities, making themselves available to the greater number of these, yielding to the nearest one, and then quickly swerving from one to another. This is a...
dan fox
‘A high premium is placed on signalling this culturally aware urbanity and theoretical engagement, rather than necessarily enacting it. If the modern city displays, as Raban puts it, ‘a pornography of taste’, these signals are crucial to our recognition of the art professional’s authoritative self-image. It is a form of subcultural recognition, which can run from the micro – two...
‘‘artists look like everyone else, worry about their weight, book foreign holidays’’
is an oblique conversation, a speculation on deciphering the conversational as a device across scenarios of the production of art, work and leisure. Operating as a question of the conversational as a mask for unifying operations, it is also suspicion of the ability to talk and articulate. But the work is complicit with the communicativity that it discusses and functions in relation to that which...
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an oblique conversation, a speculation on deciphering the conversational as a device operating across scenarios of the production of art, in work and leisure.
‘The principle of equivalence is enforced by capital in which everything becomes commutable, reversible, exchangeable, indeterminable’
Nothing, like something, happens anywhere
the neoliberal, predatory, continually mutating capitalism of the every moment.
Art is a series of scenarios/presentations that...
Art is a history of doing nothing and a long tale of useful action.
‘All his behaviour seems to us a game..his gestures and even his voice seem to be mechanisms’
The unconscious self is the real genius. Your breathing goes wrong the moment your conscious self meddles with it. Except during the nine months before he draws his first breath, no man manages his affairs as well as a tree does
”- I recall being present at a conversation between two men who were very different from one another. One would say in simple and profound sentences some truth he had taken to heart; the other would listen in silence, then when reflection had done its work he would in turn express some proposition, sometimes in almost the same words, albeit slightly differently (more rigorously, more...
Life is short, art long, opportunity fleeting, experience deceptive, judgment difficult
DERIVATION
"Suppose..
.. an artist were to release the work directly into a system that depends on
reproduction and distribution for its sustenance, a model that encourages contamination,
borrowing, stealing, and horizontal blur.The art system usually corrals errant works, but
how could it recoup thousands of freely circulating paperbacks?”
“I see this as a paradigm case of finding yourself implicated in a situation and indebted to a person or thing through the implications of an experience. When the cup talks to you, you owe it a response. What chance do you have? For the duration of the coffee party, this is the conversation you will have to make. So you might as well talk to the thing and get to know its take on life. ...
THE CUBICLES
A studio space arranged in cubicles announces the individuation of practices. Compartmentalisation not only goes towards supposing an outline of the work, but it upholds a correlation between the individual and the work made. It makes a connection between the creative personality and the space the output occupies- usually physical-; it is the need for space. Partitions of the...
It is helpful to recall Owens citing Benjamin...
Efficiency is a driving force of these scenarios discussed. If the artist’s question is ‘how can we make do with what we have?’ (Bourriaud) further to this might be doing this in the most efficient way possible. This is being aware of what is profitable; how affect can be achieved, particularly for young artists currently: ‘The underlying concern and point of departure young artists have long...
The non-question of being ‘radical’ has given way to the ability to adeptly position ourselves and how we do something: ‘We used to think in terms of ‘radical’ or ‘not radical’. This is an irrelevant issue now. The question is: How do you come up with something that is identifiable as yours? It’s logo-ing. It’s branding.’
blah blah...
‘She often can’t sleep, sits down to the Internet late at night and closes worrying communication gaps from the day. She thinks she would be stuck in her workplace without her diary and address book. On the other hand, she can’t imagine a life where she didn’t organise her work herself and had to be subordinate to her superiors. As the work is entirely up to her, it simultaneously stimulates...
April 2011
6 posts
Their language and the derivations of their language - religion, letters, metaphysics - all presuppose idealism. The world for them is not a concourse of objects in space; it is a heterogeneous series of independent acts. It is successive and temporal, not spatial. There are no nouns in Tlön’s conjectural Ursprache, from which the “present” languages and the dialects are...
"we are used to culture happening in places that...
..Art’s addressee, no longer necessarily even a gallery-goer, is reconfigured as a participant, interlocutor, guest, peer, comrade and so on; the white box institutions in which we encounter art have adapted by mimicking libraries, cafes, laboratories, school rooms and other social spaces.
March 2011
7 posts
"They discovered that knowledge was tradable"
It can be confusing as fine art undergraduate to consider the relationship of what I do now and what I will do. Or how this learning system equips me for any job that I might attempt to find. Perhaps we supplement part-time work with our ‘creative practice’ in an artist’s ‘collective’ that we have started or come into, the status of an ‘organisation’...
pt. two
These songs were sung in a place of Education.
It has hall with a ’50s mural sprawling across one face of the room. There is dark wood. Lofty but in a state of disrepair, an institutional colour coats the walls stained in the corners from pipe smoke.
A central staircase has wooden banisters. A basement has three small rooms: Trefusis and Storrow; ‘Bar’. They converge on the café....
pt. one
“It’s fifty-one springtimes since she was a bride, and still you may see her at each Whitsuntide In a dress of white linen and ribbons of green, as green as her memories of loving.”
This takes us back to war. Those who swell the membership lists of Country Dance Societies in ’67 are widows, or ladies who have lost fiancés and lovers: p aradise removed. Pre-war working-class life- birth,...
"haha yes I think with art schools, there is a...
hi jason, how is your work going?
09:53Hey Pascale, Good!living in Bangkok at the momenthow are you?
09:53ah wow, so you finished your degree when? i remember Verity talking about her final show in fact 09:53hrmm, last year ish I think· 09:53hah
· 09:53but I had finished a while ago, but I was doing single unitsare you done?
· 09:54I seeno I am notI ‘finish’ in june, or...
To ----@live.co.uk From: Jemma ----...
To ——@live.co.ukFrom:Jemma —— (——@live.co.uk) Sent:06 March 2011 13:39:47To: ——@live.co.uk .ExternalClass .ecxhmmessage p { padding: 0px; }.ExternalClass body.ecxhmmessage { font-size: 10pt; font-family: Tahoma; } Pascale, Just had a chance to get to my email, apologies for the belated reply. Is it right to say that your relationship...
February 2011
28 posts
∆
IN THE ILLUSORY BABELS OF LANGUAGE, AN ARTIST MIGHT ADVANCE SPECIFICALLY IN ORDER TO GET LOST, AND TO INTOXICATE HIMSELF IN DIZZYING SYNTAXES, SEEKING ODD INTERSECTIONS OF MEANING, STRANGE CORRIDORS OF HISTORY, UNEXPECTED ECHOES, UNKNOWN HUMOURS, OR VOIDS OF KNOWLEDGE…BUT THIS QUEST IS RISKY, FULL OF BOTTOMLESS FICTIONS AND ENDLESS ARCHITECTURES AND COUNTER-ARCHITECTURES… AT THE END, IF THERE...
http://www.facebook.com#!/home.php?sk=group_2013564... →
'You say "Today, there are no longer images that...
‘Yes, what I mean by chain is a dynamic structure that produces forms that are part of it: pre-production, production, post-production.’
[Hans Ulrich Obrist interviews Philippe Parreno, various locations, 2001- 2002]
Pascale Cumming- Benson of course yeh, french (in fact I’ve been reading my situationist book again hah although not before bed this time). The bit the iain sinclair guy talks about at the end- evidence of the local to counteract the ‘globalisation’ of imagery is …interesting. That evidence thing is very british philosophy-wise, also not wanting to be weighed down by...