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STAR TREK PROP PORN:
this is the session we had in calss with the cameras and the live edit table in c115:
mind the effects, frames and transitions second half of the video.
5dez – 8dez 2013
“I used to sit and look at clouds laying on my back as a kid because you can see anything you want and i always found anything i wanted, or anything it inspired me to see i could find anything i wanted It was a beautiful thing and still is go find it whatever your looking for it is there in the clouds.”
-youtube user pandarama67
PDF FILE: 13_10_13
5th- 9th DEXEMBRE 2013
PERMANENT SET CALA’Я’TS
the event tries to circumscribe what an exhibition is/ or how an exhibition is interesting
the parameters here are: how can works of different kind be presented, be consumed or be useful to one another, can communicate with their space and context of presentation
works that copy themselves
works that get re-enacted
works that become props
a painting in a filmset is always a prop: or other: every object on a stage is already a prop: might potentially be used as a prop
(in gallery space the same subtraction that the viewer does: what here is art and what here is installation space: what here is a donation and part of the set and what here is an installed piece: the lines get blurry in the set it already looks so much like an installation)
a lamp in a filmset should never be just a lamp but always a practical(an visible light source) the naturalists ideology, exposing the structure of film tricks: its not about reducing the magic or exposing the mechanism of the trick, its suggesting that the trick is situated fundamentally elsewhere: not the staging is the trick.
I am interested in the intersection of three spaces within the permanent set: of art school, filmset and hetero-normative living space.
What have these spaces to do with our education: why did calarts implement such a studio into the school? For industrial reasons? For students to film inside that space tv-series (because what else can be shot inside) and doesnt that suggest for a continuation work of a school show: very much inline with calarts original conception of a artesano theme park.
i am fascinated with the idea of watching a filmcrew: watching filmmaking labour: chris markers films about directors: kurosawa, tarkovsky, medvedkin: watching over the shoulders, watching the voyeurs.
its a socialists construction to understand the world at sight of labour: (and maybe that got translated into the idea of practice in art terms) if we execute a certain work procedure, if we watch labour from inside: we will be able to analyze it and make statements about the constellation of the particular work to the market, of the workers inside the workflow and their hierarchies:: i was watching a filmset from the perspective of an extra: always as actor: once as an orthodox jew another time a russian oligarch in a film called the coming days: die kommenden tage.
Suggestion for an acting exercise: present your practice to somebody verbally: the other person has to take up your practice and make work in that mode: present next time developments out of this practice and a persona out of this practice.
: to copy each others works, to relate to each others works: the idea of creating intimacy: rather then looking for works in history or the internet, or reading texts from outside a group of people only reflects their own works for a while: create a system of dependency of signs among the works.
maybe this is no exhibition, lets not call this an exhibition. its a filmshooting and the film that gets shot is called the exhibition. and what the film shows is congruent to what the filmcrew does: it shows the labour of the industry. the spectators coming into the set can watch the set as extras. Watch an industrial procedure filming. What are they filming? Artistic industry: the labour of the artist: which is social labour, networking, prostituting, bureaucratic skills, fiscal planning, teaching, shipping, installing politics, grand proposals. it deals with the reality of being an artist with the business of it.
the same pleasure of watching work: since le nouvel esprit du capitalisme the artist and the google employee is the same persona: with the same cv, the same skills, because the artist is the model for the projected oriented freelancer. Still i enjoy watching martin kippenberger in his office when he is asked what does this have to do with art? -Art? Not that i know of.
this has nothing to do with institutional critique rather some sort of structural realism. Voyeuristic structural realism.
3 POWER HOUSE
the institution of art school is the next best power house: it is difficult for me to imagine the works i see in art school to be read in a context outside of art school, because that is the context they were made in and where they are exhibited in: in gallery simulations. ( cant works be existing in multiple contexts? ex-students show work they did at art school, these works can seem more radical, then when people are exposed to the gallery system) i am sensitive to the context of production, i think if you are at art school, there is a possibility to look at this context and declare: the work i do at art school is connected and speaking about art school more then it speaks about me, the art world, art history or something else. it speaks about a social circle, it speaks about living in santa clarita (or living at the art school) it speaks about certain teachers about driving a car there, drinking a lot of coffee, talking about a certain canon of artists and theoreticians, thinking about the school history… assuming that we might not always going to be artists or connected to art institutions, i think there is fundamental structure to be learned beyond: about what does an education institution teach and what does it not teach, in as how much an education today is a training towards an industry and in as how much a realm for self-realization. lucky lady lucky man that we dont have to learn how to get the gallerist dinner straight and arent blow job ready but then again nobody is giving us a real update here: we know the structure outside and they dont teach it at the school, but they dont teach an alternative structure either: ergo what do they teach? Artschool.
4 LIVING ROOM
how could we function as a collective to form an exhibition: this should not be a group exhibition, but an exhibition out of a collective thinking, not one work by one person: how communication in collective exhibitions possible: who has positive experiences with group exhibitions: with collective exhibitions.
a list of a collaborative practices: maybe also a way to classify collaborative practices and look for a mode of style or repetition amongst one collective: a theater troup, a lanparty, a suicide cult, a resistance movement, an orchestra, a board, a ministry, passengers collectively held hostage in a bus, a group of extras, standing in line for salvation army food… different acting exercises for a day of collective production.
consistent out of an entrance area outside the apartment ( with a brick wall, plastic hedge, entrance door a window), the living room, with its lobby (flower ornament tiles) a library, a fireplace, an oriel, a door to the garden/terrace: plastic jungle, light panel round way to the kitchen
there is something fundamental about the living space: rooms of artist friends in berlin are part of their work (sometimes there strongest piece) its a cross over of life style and art practice: since installations often simulate living spaces: gregor schneider, kienholz, kabakov, nelson… but at the same time lifestyles, youthcultures install themselves in living spaces: and then art practices again update lifestyles of a youth culture: david lynch is one long update of his youth : twin peaks so 50s!
relational aesthetics, the idea that the social could be the art, that living and life style could be subjects that are not marketable (again) and resist predication: could be formed into practices: withstand trends, fashion that withstands fashion.
you have to go visit a lot of living rooms to decide what is a style, and why it is a style, its like looking at peoples fashion, and asking why is that a fashion: what does it speak to, or where do these clothes come from/furniture/fittings/art:
thrift culture: a culture of re-enactment: the post-modern offer: all signs became modular: that also means that everything is a sign! there is no fashion that doesnt mean something. the grayest and most inconspicuous hoodie holds the same amount of meaning as a thong or a kimono. you will never be able to be inconspicuous the agent of voyeurism is noticed in a room within seconds: the trench coat is loaded with signs of hidden filmcameras and exhibitionism. (combined it with pink jeans and a sombrero?)
acting exercise: go to a gathering of people: be as inconspicuous as possible: avoid contact, slip away if people start talking to you: avoid eye contact: give an exact description of the event
art exhibitions that take place in living spaces: russian and east block underground: neukoelln and wedding project spaces in the first floor: the business space infiltrates living space, my home is my office: people that live in paint, centuries and centuries: gericault, nick jeffrey. writers aswell, today designers, webpractices: hard to imagine which work couldn not be performed at home.
networking and the social labour as part of your practice: lee lozano memorial house parties: everybody is on some sort of psychological project. where does the dinner with the gallerist happen: maybe at her/his house_ and then they present their lifestyle and have artworks hanging on the wall: where they finally became a prop again: unusable yes but still performing a simulation of a catalog: better living catalog: how to furnish your house as a gallerist catalog.
Did your family apartment or house as a child had prints or paintings on the wall? Which ones and why? Any connection to your art practice?
somebody shows me his dvd collection and there is the farocki film that i have just seen in the gallery. we watch it again on a large backlit flatscreen, the analysis still crystal sharp: at least i dont have to watch it all on my own in an air conditioned concrete cube in an industrial area, and can polish my nails, practice judo or smoke opium while watching it.
salons of conspiracy: generations of friends met in living rooms to discuss artworks and terrorism and social relationships at the same time. (maybe is that a german presumption) in the uk rather meeting in pubs? in spain meeting outside? in japan? i was conspiring in mexico and canada in living rooms.
tiravanija dinners: of course not the eating and not the cooking is where the aestheticised part is located but the presentation of a dinner dialog: its kind of a thing: that people make theme parties or theme dinners: that have the notion of experimental: but these dinners and parties resemble in their dullness any other party/dinner: cuouldnt we have a party where it is pre-defined that the social will be differently perceived and executed. (again lozano) not ethics! narrative re-enactment dinners: of course drug dinners: ketamin dinners, nude restaurant, blind restaurant, 120 days of sodom…
a fake fireplace, the kitchen sink is painted with matt paint so that doesnt reflect light, an antik fridge an oven: who lives here? the flat seems victorian: according to the fridge either people live here that spend money on retro kitchen furnishings (hillybilly, 50s fanatics?, hollywood fanatics) or the flat could stand for a historic flat/ for a classical american flat / for an american glorified tv-time living.
the filmset work is congruent to the representation of video work: in that it forms loops. loops of performance vs. loops of presentation: video works are continuous, they might be hiding the cut: the sealing of the cut…
the actor on a filmset, and the staging: everything is repeated and the director makes slight changes: develop scenes that loop: that hide the cut > that can go on in circles: the loop is the essential structure of the computer as well, of programming languages, that are sequential and looping.
When does the repetition of a scene become a loop, 100 takes of the same scene for an actor.
art school just a youth culture phenomenon? that is pushed at the end of youth, or maybe is the last vessel to extend youth culture
i have deep mistrust for youth culture:as it reflects lifestyle and its parameters and suggests its members how to dress, speak, live, treat their bodies…also suggests sexuality? I am interested in lifestyle though: as a practice that can be treated experimentally. Like the film was treated as the total art form: gesamtkunstwerk ideology: in the same way lifestyle can be understood: living rooms, diet, sexuality, clothing, body-relationships, social lingo, all parameters that can form a practice: at this very point the actor and the artist become one person: the persona: the life milieu in which the persona lives is the actual piece. Against this opportunity youth culture appears as a uniformed normative. But then hyper-individualism: danger danger///
art school is its own youth movement, where young people go together to this institution and have a certain style and understanding of their own culture rituals that is congruent with their future money house rituals: going to art openings, lectures, dinners, collaborations…no law student goes and hangs out at spontaneously setup trials of his friends. (what about ethnology students? Computer science? Comparable extended youth cultures into working cultures: sport culture: the artist as the athlete – has a certain life span) playing industry: art school is this lab of experimentation for advertisement and capitalism, it is this promotional space for kids working for the extension of youth culture and the apparatus that sells the youth culture to the youth: how many art school kids work for vice? How many for galleries?
art school always already simulates an art market, students playing the bureaucrats, the artists, the curators and the teachers. some occasionally play the art collector. the institution is playing the institution.
8 POWER HOUSE
the art world might be the most visible structure for us to understand global capitalism: and if it is nothing else then a marker: all players have names and places and the constellations in which they stand are visible and can be talked about: if a terror network that takes part in the gallery system would mark all artworks that they produce and sell with little df transmitter markers: they could follow the route of their pieces through collections, and they could locate rich peoples houses. (would the forger also copy the df transmitter?)
what is coming ahead what should be discussed at art school: coming out of the institution with a plan organized and positive suggestions for the “other” art world, the good one where it rains grants and residencies and we dance around the maypole of the new artist run center? or opening a gallery in the global gentrification area mexico or berlin? what the fuck? these cities are not stronger then the market, they just get drained. desertification of kool, atlantropa backflash. Are we like israelian backpacker teenagers fleeing the country from military service and meet each other in residency enclaves in goa and novosibirsk?)
9 IDEAS FOR SCENES
telling my marxist parents about my first solo exhibition
cunnilingus for a critic
having the gallerist over for dinner
the studio visit
setting up a contract for an art piece
the practice calculation: measuring the canvas: how can i work less and earn more
considerations for a collective
(DOLPHIN QUESTION) looking at tylers dolphin painting: painted by a dolphin for 200 dollars. a collective would make more money if they decide to sell themselves as one name instead of a collective of names. although the collective is making the work: one artist is making more money having assistants then each assistant or the artist making by themselves: simple added value calculations. the dolphin painter, paying dolphins is cheaper then assistants, although its the actual assistant that is the star here, the chief artists name is unknown. chimpanzies, parrots, elephants: large canvases, a painting by a killerwhale, the more dangerous the more expensive a painting.
all these scenes are educative scenes: like : harun farocki: how to live in the german federal republic. Everything is a roleplay, and a self help workshop: and every participent is an actor: if we train how to treat these moments of our professional future as games and roleplay situations: pitches will steam up in tear gas, collectors hypnotized, paradigm shift in the sexuality of the artforum critic. Social terrorism can only come from inside: training for faked accidents in the gallerists home and how to get through the trial with millions.
maybe we can invite real gallerists, real collectors to play the part? they come to dinner in the studio, we act: we talk about that?
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