Found Public Faculty pictures

Roundtable discussion

Alyssa and I have decided, for our Project Space next Tuesday, to hold a roundtable discussion evaluating our Slateford Green Horror Film Project. We have invited Harry and Senga from the Residents' Association, and  Zoe and Susan  from ECA to participate alongside the Intermedia final years who would be attending the crit anyway.
We plan to Set up our posters, masks, projection of the film, and photographs around the room, and then have a circle of tables to sit at and hold a discussion.
I suppose, Alyssa and I will chair the discussion; commence and guide it. Perhaps we will start by asking Harry and Senga to talk about their involvement in the project and their involvement with Slateford Green.
We can break the process down into the chunks: workshops, film,  exhibition and launch. We could assess each part individually- which bits worked and which didn't.
 We can then open up the floor for more directed questions...
Due to the bad acoustics in the Project Space studio, we are looking for alternative spaces. So far we think that the the conference room at the end of the Intermedia corridor will be best. We need good acoustics because Alyssa and I plan on filming and voice-recording the project space.
Here was another space we considered- although I am not sure the acoustics would be much better than the Project Space:

Poosible locations around college for pop-up library

Glasgow

Strickland Distibution
Transmission Gallery

Antonio Negri: A Revolt That Never Ends

back to head

I brought this piece up yesterday in my tutorial with Anita, as a piece of mine that I really liked and that also had several readings to it. When I said that I didn't disclose that the bust was my Dad, because I didn't want to give it a finite reading, she said that my intention could be to keep it open. If that was indeed my intention, then that had to manifest itself through some kind of supplementary narrative that indeed could be within its title.

I immediately thought of the Alec Findlay's Mesostic Remedy project that I had spent so much time with at Jupiter Artland this summer. On those bottles, the words that were inscribed carried with them so many levels of meaning. Each word on its own opens a multitude of associations, unique and personal to the viewer. But also collectively as a group of words- as a sentence of as a constituting a bigger abstract idea- each bottle was unique in itself, but also to the viewer. Ambiguity is present when looking at the bottles, but it is a conscious and insightful ambiguity and that is something that should be made clearer in my own work. As it too can be read on many levels and individually personal to the viewer.

So here is a list of the different names I was considering to give to this bust/ or indeed could be given to it as accurate readings:

  Papa
Dad
  Our Father
  Bust
2010
 Cast
From Memory
 Missed

         Male
       pApa
         Missed
  our fAther

          Model
        bUst 
          Memory
     
       2O10

Thoughts after tutorial on Monday 24th September

I think I am going to scrap the life drawing idea... maybe save it for another occasion.

It is on a different line of inquiry as the others.

I was told to really think about what I see on the other side... what am I aiming for on the other side? Even if that isn't the ultimate out come. I need to be clear on what I am setting out to do.

Life drawing....

Was partly about, authority, and if one is a tutor: an artist with authority. Does one role permit the other one to be active too... or not? I think not. So the life drawing was about the tutor who is an authoritative figure, to be simultaneously learning. Formally.

Equally, SKILLING--->DESKILLING then once again desiring to be SKILLED was another train of thought running through.

Particularly in Intermedia which can be extremely process, ephemeral, non-object based...  why not go back to a place from the start... in the life drawing room. Observing the human body, measuring, visiting a past memory. A mutual memory amongst art tutors.

So then its not necessary for me to be the model. I can still be a facilitator without being naked. So perhaps the life drawing ought to be a mix of students and teachers? Where does the art reside in the silence? In the meditative silence of the drawing? What is being exchanged? A development of dialogical art... where there is no dialogue but other forms of dialogue. I think that is my issue with it.... one has to be an english speaker. Damn... how well is that going to do in a globalized world. Sorry China....  although they'll be having the last laugh amongst themselves.

I still think that this is an interesting idea... but the website, library and guided tours work as one body....


RESKILLING and CREATING REAL FICTION



-Back to the life drawing-
I was drawing its origins with the bust piece from Munich. I described it to Edina, she said it was interesting but like my other ideas lacked a focus/an anchor. What was the piece really about? I guess I like to set up a situation and see what happens, where it strength lies. It seems that perhaps I need to start with a clearer intention but also in the knowledge that the outcomes may transform that.

She said that although there are many readings, it doesn't make it bad but i should acknowledge precisely that, turn that into a strength of the piece. Make it an intention. So she said I could give multiple names and identities to my work- give it a narrative, guide the viewer into that mindset.

So therefore, I can call that headpiece, Our Father, My Father, Papa, Bust, 2010, Munich.... whatever I wish... That is something to think about. I really like that piece and would like to some how include it in my final body of work.

Maybe I should be aware that my work may have several readings and so bring that into their titles or an accompanying text....


----------------------------------------

The pieces I will be pursuing at the moment are: Library, Guided Tours and Website... trying to bring elements of fiction and imagination where possible.

I must start making.

I will begin with the library and getting the girls to give me their old sketchbooks with which I will create my first library with


fuck the fire alarm just went off....

De Ateliers Amsterdam

De Ateliers is an independent artists' institute which is run by visual artists. It focuses on the artistic development of young, talented artists from within the Netherlands and abroad. The monumental building in the center of Amsterdam offers twenty-three spacious studios. These are placed at the disposal of beginning artists who wish to combine intensive self-motivation with critical guidance. Though similar to a post-academic teaching facility, de Ateliers is not an educational institution. Its policy as a foundation is determined by the supervising artists.  Dominic van den Boogerd is its director; Elly Reurslag and Laurien de Boer are responsible for the day-to-day management.  As an internationally renowned institution, de Ateliers receives financial support from the Department of Culture of the Dutch Ministry of Education, Culture and Sciences.

 

Lindsay Seers It has to be this way 21 January–15 March 2009

Press Information
I could say that I was in love with her, but it was not in an ordinary sense. I was consumed by her, so that it became painful. I wanted to merge with her entirely, to become her. After the accident the nature of this intense connection with her became much more dangerous for me, as if the things had become polarised and the differences between us became more erratic - swinging violently between attraction and repulsion…
In the years and months preceding It has to be this way, Lindsay Seers’ first exhibition at Matt’s Gallery, a catastrophic accident has caused a chain of events that take us on a journey through history where everything is connected.
In a recent visit to Stockholm, the artist photographed anything that was associated with her step-sister, Christine, and followed streams of associations and connections attempting to reconstruct a past in which characters move across history and slip from one person to another. Within the gallery, a viewing chamber forms part of a sculptural installation housing a double-screen video projection and two monitor works that use several characters to stage the differences between renaissance and modern thought on art, philosophy and science.
Drawing on historical theories of vision, Seers creates highly personal narratives by interweaving concepts of science, philosophy and photographic theory into the work, in an ongoing investigation into how cinematic and photographic technologies shape us. These narratives are punctuated by incredible plot devices – stalkings, burglaries, shipwrecks – that mimic the rupture at the heart of image production, creating a dramatisation of selfhood in all its melancholy and failure. By re-casting photography as an act that actually creates experiences rather than records them, or as David Burrows describes it in Human Camera, by creating ‘an indexical process that is transformative’, the boundaries of photography in Seers’ work are truly extended.
The opening paragraph is an extract from a novel concerning Christine Parkes, Seers and a character known only as S. In 1999 Christine was involved in an accident that left her with severe retrograde and anterior grade memory loss. She went missing in Rome in 2001.


 

Weaving fiction in reality

Martha Rosler Library

 

 

 

Sketchbook Library

email with Angela

Beginning of discussions with Angela about collaborating...

Hi Angela,

this is really exciting. And Sophie Calle looks really interesting, I am going to look at the link now.

There are a few projects that have lead me to think of this, but I cannot think of them off the top of my head. I will look through my books and write them down for you to look at.

What you have written below about exploring the boundaries between public/private spaces, used/disused spaces and inbetween spaces are all what interest me. Particularly their placement within an institution or something that is governed and structured by society for society...

Speak tomorrow.

My mum sends her best wishes!

Love, xxxx

---

Date: Wed, 19 Sep 2012 23:08:55 +0100
From: angela.stiegler@yahoo.de
Subject: sophie calle
To: jessicadunleavy@hotmail.com

do you know Sophie Calle's work?
she mad different social interventions in public and private space.
i send you the link of one of her actions:
http://www.google.de/imgres?hl=de&client=firefox-a&hs=Cn8&sa=X&rls=org.mozilla:en-US:official&biw=1600&bih=833&tbm=isch&prmd=imvnsob&tbnid=3zkunwsPoYZaLM:&imgrefurl=http://pietmondriaan.com/2010/12/19/sophie-calle/&docid=fJhWGv5_2uEPHM&imgurl=http://pietmondriaan.com/pm/wp-content/uploads/2010/12/sophie_0.JPG&w=626&h=421&ei=kT5aUMT3AsTdtAaW7oB4&zoom=1

another one is for example that she worked as a chambermaid in a hotel for three weeks and started observing people who lived in the hotel rooms like a spy with a photo camera. there are many more like that. but i'm actually not that familiar with her work, but there does exist a great catalog about her work with all her interventions in it. (i send you a picture of the cover)

im also intersted in spaces like the space on the ferry, which is a kind of inbetween-space: inbetween countries, water and land, ...

maybe we could even do something about you living one week in my space (which is all the private and public space that surrounds me) and me living one week in your space.
or even doing that while the other is documenting that by photo or video. so we would analyze the spaces that surround us in a way. and we would try to "play" the others role.
or just something similiar to sophie calles idea to become a cook for a week or another occupation

lets talk on friday!
love

Sophie Calle

‘The Sleepers’ (1979)
In 1979, Sophie Calle asked several (23) persons, friends, strangers, neighbors, to come and spend eight hours in her bed in order to keep this bed occupied twenty-four hours a day. These people had to accept to be photographed and to answer some questions. She took photographs of the sleepers and noted the important elements of these short meetings: subjects of discussion, positions of the sleepers, their movements during their sleep, the detailed menu of their breakfast she was preparing for them.

You Talkin' to me? Why art is turning to education

"You Talkin' to Me? Why are Artists and Curators Turning to Education?" is a public discussion held on Wednesday March 31 at the VU University, Amsterdam. This discussion was held on the occasion of the launch of the book "Curating and the Educational Turn", edited by Paul O'Neill and Mick Wilson, published by de Appel arts centre and Open Editions.

switching institutions

Dieter Roth Diaries
Fruitmarket Gallery, Edinburgh
Summer 2012