[-empyre-] Artwork #8: Beth Collar - Brainstem Thinking

[Daniel Lichtman]

--empyre- soft-skinned space--Beth Collar
Brainstem Thinking

Video Link: https://vimeo.com/232861610
password: bread

Beth Collar is an artist working predominantly in performance and sculpture
or in the shared ground between them. She was born in Cambridge, England.
Recent solo projects have been at Primary in Nottingham until the 4th
August 2018 and Matt’s Gallery, London in May 2018 and Standpoint, London,
2017. Recent group shows and performances have been at Room E-10 27 @
Centre, Berlin 2018, Cell Project Space, London 2018; Horse and Pony,
Berlin, 2018; Cafe Oto, London, 2017; the Kunstverein München, Munich 2017;
Kunstraum, London, 2017; Glasgow Women’s Library, Glasgow, 2016; Hester,
New York, 2016; KW, Berlin, 2016; Fig 2, ICA, London, 2015; Cubitt, London;
Rijksakademie, Amsterdam, 2015; Raven Row, London, 2015; the Serpentine
Galleries, London, 2015 and Flat Time House, London, 2014. She was
recipient of the Mark Tanner Sculpture Award 2016/17.
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Re: [-empyre-] Artwork #6: Eoghan Ryan - Moss Icon

[Daniel Lichtman]

--empyre- soft-skinned space---so much attitude

-what is attitude? a question of whether to trust artist’s intentions?
Trust the voices speaking in it? Trust: whether the intentions behind the
faces and images are straightforward, communicable? why not trust the
sounds and images in this work (kids singing a song, man with tongue
sticking out, stylish colors, deliberately clumsy editing)? Overall:
question of relationship between and definitions of ‘trust’ and ‘attitude’,
and how the editing of the work generates these questions in the viewer

-a lot of intention in the repitition and distortion of kid’s voice

-chunky collage of sources—found images, music clips and animations

-“describes the artist’s accomplishments as… simply epic” .. “i love you”
.. “i’m pathetic” .. “you’re pathetic” .. “i don’t know what a better
definition of eroticism would be” — clues about what some of the voices and
images are reaching for

-“we’re the same when it gets down to it.”— all the voices add up to a
desperation. the desperation is located in.. the editor, the composer of
the voices and images.

-is the collage of voices and images erotic? what kind of erotics? is it
epic? is it pathetic?

-face with tongue out (robert rauschenberg) linked to sketches and drawings
of the face with various bodies linked to animated muscleman character
linked to face of young man (who is the artist, I happen to know) — is
there an erotics to these graphic connections? Does it correspond to the
definition of erotics described by the man’s voice at the start of the
video?

-Erotics of ‘attitude’?

-a lot of juicy issues to put together in navigating this work!

On Wed, Jul 11, 2018 at 3:32 PM Daniel Lichtman  wrote:

> Eoghan Ryan
> Moss Icon
>
> Link to documentation (see video MOSS_ICON.mp4):
> https://www.dropbox.com/sh/apwp220jn8polh1/AABwunEYjt_-rjY7hSqA8HWba?dl=0
>
> Eoghan Ryan lives and works in Berlin. Selected shows, performances and
> screenings have taken place at the Irish Museum of Modern Art, Dublin;
> South London Gallery; Rowing, London; Serralves Museum, Porto; IFI,
> Dublin; Outpost, Norwich; Kem, Warsaw; Cubitt, London; Kim? Contemporary,
> Riga; CAC, Vilnius; Catalyst Arts, Belfast; New Shelter Plan, Copenhagen;
> The East End Film Festival London and FACT, Liverpool. Recent includes a
> two person show with Beth Collar at ROOM E1027 at Center Berlin, Nocturnal
> Reflections, Macao, Milan; and a group show at Spike, Berlin. Eoghan will
> begin the the Rijksakademie in January.
>
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Re: [-empyre-] Artwork #1: Benjamin Orlow: The Ticket That Exploded

[Murat Nemet-Nejat]

--empyre- soft-skinned space--Hi Daniel,

"For me the most 'utopian' experience I have as an art viewer is the one
where I am manipulated into seeing new relationships between forms,
materials, categories, languages, etc. And hopefully in ways that trickle
(directly or not) into my understanding of the mechanics of some part of
culture or society. Hopefully defamiliarizing my relation to what it means
to communicate, create, and participate in the social world around me. In
my art-viewing (or anything-viewing) experience, this is the broadest
possible meaning of the political.


Just the act of presenting something as an artwork (a stone, a found video,
a painting) "

If what you are saying is the ideal way of regarding art, then each work of
art can have only one meaning, one way of being experienced, the way the
artist has manipulated it. That obviously is not so. That is a sterile way
of approaching art.

Ciao,
Murat

On Sat, Jul 14, 2018 at 10:24 PM, Daniel Lichtman 
wrote:

> --empyre- soft-skinned space--
> thank you for your response murat!!
>
> For me the most 'utopian' experience I have as an art viewer is the one
> where I am manipulated into seeing new relationships between forms,
> materials, categories, languages, etc. And hopefully in ways that trickle
> (directly or not) into my understanding of the mechanics of some part of
> culture or society. Hopefully defamiliarizing my relation to what it means
> to communicate, create, and participate in the social world around me. In
> my art-viewing (or anything-viewing) experience, this is the broadest
> possible meaning of the political.
>
>
> Just the act of presenting something as an artwork (a stone, a found
> video, a painting)
>
> I often think of the experience of looking at artwork to be centered
> around manipulation.
>
> On Mon, Jul 9, 2018 at 8:08 PM Murat Nemet-Nejat 
> wrote:
>
>> --empyre- soft-skinned space--
>> Hi Daniel,
>>
>> A found tape also was manipulated when it was made. When we make a
>> sentence, we manipulate words. To make a word we manipulate sounds. Film,
>> video, photography are language. Languages occur through manipulation. For
>> instance, we don't know what stones are saying, feeling, thinking (or if
>> they are doing any of this) because we do not experience *their* 
>> manipulation.
>> It is extremely passive --a state you seem to find utopian. Lack of
>> manipulation by one does not liberate that person or animal or thing from
>> manipulation, just makes it susceptible to manipulation by others. In my
>> view, what is more crucial, an awareness, watchfulness of who is doing the
>> manipulation, the processes by which it comes about (in a film or a
>> photograph or a piece of art or in a politician or in a discussion like
>> here) and make sure that every/multiple forces can enter it. In other
>> words, in my view, what is crucial, realistically utopian,so to speak, is
>> to prevent manipulation to create closed systems.
>>
>> Ciao,
>> Murat
>>
>> On Sun, Jul 8, 2018 at 9:53 PM, Aviva Rahmani 
>> wrote:
>>
>>> --empyre- soft-skinned space--
>>> Nude Alpine hikers actually sounds very Swiss.
>>>
>>> Aviva Rahmani, PhD
>>> Follow my work: https://d.rip/aviva
>>> www.ghostn...@ghostnets.com 
>>> Watch ³Blued Trees²:  https://vimeo.com/135290635
>>> www.gulftogulf.org 
>>>
>>>
>>>
>>> On 7/8/18, 9:52 PM, "Daniel Lichtman"  wrote:
>>>
>>> --empyre- soft-skinned space--
>>>
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>>> empyre@lists.artdesign.unsw.edu.au
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>>
>>
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>
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