Warlpiri Drawings, Remembering the Future at the National Museum
link to ABC article here
Monday, 8 September 2014
Saturday, 6 September 2014
Decolonial Aesthetics
Decolonial Aesthetics / Aesthesis has become a connector across the continents
Walter Mignolo
Essay: Re:emerging, Decentring and Delinking. Shifting the Geographies of Sensing, Believing and Knowing
A review of Sharjah Biennial 11 curated by Yuko Hasegawa ( Museum of Contemporary Art Tokyo)
The epistemic and cultural privilege of European modernity is over, as is the politico-economic privilege. The shift to the eastern hemisphere and the 'Global South' is founded in both economic growth and cultural confidence. Hasegawa noticed that the artists of the 'Global South' and 'Far East' are using the same techniques originating in the west, but privileging identity when using them. A parallel with the global economic order is in place: the planetary economic order is capitalist, but the BRICs countries are acting on politico-economic state identities and delinking from the IMF and the World Bank.[12] Dignity is at stake at every level here, for the simple reason that identity is what Eurocentrism taught the rest of the world to despise so as to become modern (postmodern or altermodern), developed and 'civilized.
---
But what is not fine is to expect the universalization of western localities and sensibilities, simply because you cannot universalize the local without erasing the localities of others. That was and is the problem with the Eurocentred idea of modernity. Once, people around the world believed that 'the way' was to embrace western modernity. Now, the trick has been uncovered and the departures have already begun. They are wide and far spread.
Essay Delinking
Decolonizing solidarity resources and ideas organised by Clare Land
Walter Mignolo
Essay: Re:emerging, Decentring and Delinking. Shifting the Geographies of Sensing, Believing and Knowing
A review of Sharjah Biennial 11 curated by Yuko Hasegawa ( Museum of Contemporary Art Tokyo)
The epistemic and cultural privilege of European modernity is over, as is the politico-economic privilege. The shift to the eastern hemisphere and the 'Global South' is founded in both economic growth and cultural confidence. Hasegawa noticed that the artists of the 'Global South' and 'Far East' are using the same techniques originating in the west, but privileging identity when using them. A parallel with the global economic order is in place: the planetary economic order is capitalist, but the BRICs countries are acting on politico-economic state identities and delinking from the IMF and the World Bank.[12] Dignity is at stake at every level here, for the simple reason that identity is what Eurocentrism taught the rest of the world to despise so as to become modern (postmodern or altermodern), developed and 'civilized.
---
But what is not fine is to expect the universalization of western localities and sensibilities, simply because you cannot universalize the local without erasing the localities of others. That was and is the problem with the Eurocentred idea of modernity. Once, people around the world believed that 'the way' was to embrace western modernity. Now, the trick has been uncovered and the departures have already begun. They are wide and far spread.
Essay Delinking
Decolonizing solidarity resources and ideas organised by Clare Land
Ulli Beier 1922 -2011 Obits
Important teacher, cultural academic, working in Nigeria in the 1950s, founded literary magazine Black Orpheus in 1957, in Papua New Guinea in the 1970s BEier founded the Institute of Papua New Guinea Studies and the literary journal Kovave. In 1980s he founded IWALEWA Haus for contemporary arts Bayreuth University.
http://www.artlink.com.au/articles/3644/ulli-beier/
http://www.iwalewa.uni-bayreuth.de/en/in-memoriam/Ulli_Beier/index.html
Beier Archive
Contemporary& Gallery at University Bayreuth
http://www.artlink.com.au/articles/3644/ulli-beier/
http://www.iwalewa.uni-bayreuth.de/en/in-memoriam/Ulli_Beier/index.html
Beier Archive
Contemporary& Gallery at University Bayreuth
Friday, 22 August 2014
Gordon Bennett 10 August 1955 - 3 June 2014
links to news of the death of artist Gordon Bennett 3 June 2014
Richard Bell tribute
'Bennett will be remembered as a hero of Australian art whose practice took aim at race relations, power imbalances, dominant histories and social conventions, producing some of the most iconic images of Australian art history over the past three decades.'
ArtAsiaPacific
Jeremy Eccles in Sydney Morning Herald
National Gallery of Victoria resources
Richard Bell tribute
'Bennett will be remembered as a hero of Australian art whose practice took aim at race relations, power imbalances, dominant histories and social conventions, producing some of the most iconic images of Australian art history over the past three decades.'
ArtAsiaPacific
Jeremy Eccles in Sydney Morning Herald
National Gallery of Victoria resources
Saturday, 9 August 2014
Mellor in Edinburgh
Danie Mellor at the National Museum of Scotland
Acclaimed contemporary Australian artist Danie Mellor’s current exhibition Primordial: SuperNaturalBayiMinyjirral responds to an array of wonders and objects from the worlds of science and nature for his current exhibition in the light-filled Victorian architectural granduer that is the National Museum of Scotland.
Review
Acclaimed contemporary Australian artist Danie Mellor’s current exhibition Primordial: SuperNaturalBayiMinyjirral responds to an array of wonders and objects from the worlds of science and nature for his current exhibition in the light-filled Victorian architectural granduer that is the National Museum of Scotland.
Review
Wednesday, 6 August 2014
Marina Abramovic
Performance artist Marina Abramovic has influenced generations of performance artists since the 1970s and worked in partnership with Ulay from 1976 to 1988.
Abramovic's durational performance 512 Hours is at the Serpentine Gallery from June 11 to 25 August 2014.
This work is experienced in a very individual and personal way since it calls all attendees to become participants in the durational performance just by being there.
Abramovic video diaries of 512 Hours is here
We MustWait review by Brian Lobel here
Immaterial Digital Diary & Archive and MA Institute here
List of press articles with PDFs here
Of more interest to me is that Abramovic and Ulay spent time in Australia in 1979 they were west of Lake Disappointment in the Little Sandy Desert, then again in 1980-81 travelled to Papunya and the Gibson Desert ( Leonora to Mount Newman). In Papunya they met Charlie Tararu Tjungurrayi who collaborated with them to make 'Conjunction' (1983) in Amsterdam, one work out of 22 performance series Nightsea Crossing.
Link to Nightsea Crossing here and a clip here
Conjunction here
A useful critique here
The ease with which the artists romanticised and orientalised others is clear in the 70s and 80s, and Green suggests:
Abramovic and Ulay, it might be argued, were indulging in a problematic exploitation – an orientalisation – of Aboriginality and Tibetan culture through stereotyping. The chromatic coding [of their costumes] could be understood to fix their collaborators in aspic, according to which ‘Aboriginal’ art or ‘Tibet’ would indicate the condition of a ‘spiritual’ thing, thus undermining from within the primary sense of the collective inaccessibility from which these works emerge.
Charles Green The Third Hand: Collaboration in Art from Conceptualism to Postmodernism (Sydney, 2001)
Jennifer Phipps, 'Marina Abramovic/Ulay/Ulay/Marina Abramovic,' Art & Text, no. 3 (Spring 1981): 43-50
Charles Green, 'Group Soul: Who Owns the Artists Fusion?' in Third Text, Vol. 18, Issue 6, 2004, 595-608
DOI:10.1080/0952882042000285005
 |
| Marina Abramovic 512 Hours, Serpentine Gallery |
This work is experienced in a very individual and personal way since it calls all attendees to become participants in the durational performance just by being there.
Abramovic video diaries of 512 Hours is here
We MustWait review by Brian Lobel here
Immaterial Digital Diary & Archive and MA Institute here
List of press articles with PDFs here
Of more interest to me is that Abramovic and Ulay spent time in Australia in 1979 they were west of Lake Disappointment in the Little Sandy Desert, then again in 1980-81 travelled to Papunya and the Gibson Desert ( Leonora to Mount Newman). In Papunya they met Charlie Tararu Tjungurrayi who collaborated with them to make 'Conjunction' (1983) in Amsterdam, one work out of 22 performance series Nightsea Crossing.
Link to Nightsea Crossing here and a clip here
Conjunction here
A useful critique here
The ease with which the artists romanticised and orientalised others is clear in the 70s and 80s, and Green suggests:
Abramovic and Ulay, it might be argued, were indulging in a problematic exploitation – an orientalisation – of Aboriginality and Tibetan culture through stereotyping. The chromatic coding [of their costumes] could be understood to fix their collaborators in aspic, according to which ‘Aboriginal’ art or ‘Tibet’ would indicate the condition of a ‘spiritual’ thing, thus undermining from within the primary sense of the collective inaccessibility from which these works emerge.
Charles Green The Third Hand: Collaboration in Art from Conceptualism to Postmodernism (Sydney, 2001)
Jennifer Phipps, 'Marina Abramovic/Ulay/Ulay/Marina Abramovic,' Art & Text, no. 3 (Spring 1981): 43-50
Charles Green, 'Group Soul: Who Owns the Artists Fusion?' in Third Text, Vol. 18, Issue 6, 2004, 595-608
DOI:10.1080/0952882042000285005
Thursday, 24 July 2014
John Betjeman Goes By Train
John Betjeman Goes By Train: Kings Lynn to Hunstanton
In 1962, Sir John Betjeman travels along the Kings Lynn - Hunstanton line and stops off at the Royal Wolferton Station.
Wolferton was a railway station on the King's Lynn to Hunstanton line which opened in 1862 to serve the village of Wolferton in Norfolk, England. The station was also well-known as the nearest station to Sandringham House, and royal trains brought the royal family to and from their estate until its closure in 1969. After spending some time as a museum, the station is now preserved in private hands. The signal box and part of the station are listed buildings, Grade II.
In 1962, Sir John Betjeman travels along the Kings Lynn - Hunstanton line and stops off at the Royal Wolferton Station.
Wolferton was a railway station on the King's Lynn to Hunstanton line which opened in 1862 to serve the village of Wolferton in Norfolk, England. The station was also well-known as the nearest station to Sandringham House, and royal trains brought the royal family to and from their estate until its closure in 1969. After spending some time as a museum, the station is now preserved in private hands. The signal box and part of the station are listed buildings, Grade II.
BFI and YouTube
and this in 1963 Branch Line
and this in 1963 Branch Line
Glasgow Kiss
That Glasgow Kiss on 23 July as a Vine here
Great action from Scotland during the opening ceremony for Commonwealth Games 2014 taking the ground for equality and diversity and humanity.
Wednesday, 23 July 2014
Freedom Come All Ye
by Hamish Henderson 1960
Roch the wind in the clear day's dawin
Blaws the cloods heilster-gowdie owre the bay
But there's mair nor a roch wind blawin
Thro the Great Glen o the warld the day
It's a thocht that wad gar oor rottans
Aa thae rogues that gang gallus fresh an gay
Tak the road an seek ither loanins
Wi thair ill-ploys tae sport an play
Nae mair will our bonnie callants
Merch tae war when oor braggarts crousely craw
Nor wee weans frae pitheid an clachan
Mourn the ships sailin doun the Broomielaw
Broken faimlies in lands we've hairriet
Will curse 'Scotlan the Brave' nae mair, nae mair
Black an white ane-til-ither mairriet
Mak the vile barracks o thair maisters bare
Sae come aa ye at hame wi freedom
Never heed whit the houdies croak for Doom
In yer hoose aa the bairns o Adam
Will find breid, barley-bree an paintit room
When Maclean meets wi's friens in Springburn
Aa thae roses an geans will turn tae blume
An yon black boy frae yont Nyanga
Dings the fell gallows o the burghers doun
English translation here
Roch the wind in the clear day's dawin
Blaws the cloods heilster-gowdie owre the bay
But there's mair nor a roch wind blawin
Thro the Great Glen o the warld the day
It's a thocht that wad gar oor rottans
Aa thae rogues that gang gallus fresh an gay
Tak the road an seek ither loanins
Wi thair ill-ploys tae sport an play
Nae mair will our bonnie callants
Merch tae war when oor braggarts crousely craw
Nor wee weans frae pitheid an clachan
Mourn the ships sailin doun the Broomielaw
Broken faimlies in lands we've hairriet
Will curse 'Scotlan the Brave' nae mair, nae mair
Black an white ane-til-ither mairriet
Mak the vile barracks o thair maisters bare
Sae come aa ye at hame wi freedom
Never heed whit the houdies croak for Doom
In yer hoose aa the bairns o Adam
Will find breid, barley-bree an paintit room
When Maclean meets wi's friens in Springburn
Aa thae roses an geans will turn tae blume
An yon black boy frae yont Nyanga
Dings the fell gallows o the burghers doun
English translation here
Tuesday, 22 July 2014
Rafael Lozano-Hemmer
Articulated Intersect in Tasmania
o ABC TV http://is.gd/p7RNNQ
o Creators Project http://is.gd/77uG3g
o Sydney Morning Herald http://is.gd/J0Q60l
o CCTV Chinese TV http://is.gd/SCXvbC
o The Guardian http://is.gd/JE9ujN
o ABC radio http://is.gd/oyxoDZ
o Yahoo news http://is.gd/1Y073Y
Armory Show 1913
Famous for showing Marcel Duchamp's Nude Descending Staircase 2 ; noted in some places as being a show that introduced European avant-garde to America which is also disputed.
Included Australian artists Derwent Lees and Charles Condor in Gallery G
Included Australian artists Derwent Lees and Charles Condor in Gallery G
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