Wednesday 30 April 2014

Settings Assignment

The starting point for this project was consecutively the material, and the location. The cling wrap came as a result of group discussion and brainstorming possible ideas; this was the only material we all found pleasing, and agreed upon. The location was singled out by assessing the locations and choosing one based on our ideas of an appealing location; the high point, open space, and seclusion was what initially attracted us. It was through the process of experimentation and the construction of the artwork that ideas were formed. Prompting from the outcomes and the fragility and flexibility of the material produced concepts that would apply to the nature of the artwork and the impression it evokes.
From multiple experiments with stretching the cling wrap across a space, and the way it reacted with the surroundings, we settled on using it in a simplistic way to draw attention to the way it responds to the natural elements, particularly the wind. During construction we found that it was too simplistic and didn’t do much to adjust the space. We tried including a bench that was originally part of the space, but it was aesthetically displeasing as it made it look too busy.  We sought to come up with something to include that would remedy this problem. Being inspired by the works of several artists who interacted directly with people, in particular Marina Abramovic, we settled on the idea of performance, or interactive art.
The cling wrap of the finished piece forms an enclosed barrier, within which a person could be situated. The person inside the enclosed space represents the collective ‘individual’, and the cling wrap is the barrier of their perceptions of themselves, within which we are all trapped. The idea is that our thoughts and perspectives, even those of our subconscious, form and shape our physical reality, and our behaviour. Inside our brain, our thoughts are not physical, but they are still physicalised through both conscious and subconscious carrying out of thought.
An example is the effect current technology has on us. Social media is all about self promotion; the mass input of posts that are all about the individual, and what they are doing leads to a very self absorbed way of thinking that our generation has adapted. This mental state in turn influences us externally; it impacts and controls our lives to the point where we our turned inwards mentally, forming a barrier; a limited perception. The physical version of this barrier present in the artwork is transparent like its real counterpart, yet still has the ability to have a profound effect on the individual.

The outcome was as we envisioned, however we encountered some weather related issues; the cling wrap was broken apart by the weight of overnight rain. There were some interesting aesthetic qualities that resulted, though. While a lot of the barrier had fallen down, some still remained suspended in the space, capturing the rain. The collection of raindrops on the plastic was also quite lovely. In this state, rather than capturing the wind, as it did when it was dry, it captured water instead. This unexpected outcome ruled out the possibility of an interactive performance, but provided opportunities for problem solving, and produced an outcome that was more aesthetic than conceptual.


Friday 11 April 2014

Marina Abramovic

Artist Research
MARINA ABRAMOVIC, BORN IN 1946 IN BELGRADE, YUGOSLAVIA, IS WITHOUT QUESTION ONE OF THE SEMINAL ARTISTS OF OUR TIME. SINCE THE BEGINNING OF HER CAREER IN YUGOSLAVIA DURING THE EARLY 1970S WHERE SHE ATTENDED THE ACADEMY OF FINE ARTS IN BELGRADE, ABRAMOVIC HAS PIONEERED THE USE OF PERFORMANCE AS A VISUAL ART FORM. THE BODY HAS ALWAYS BEEN BOTH HER SUBJECT AND MEDIUM. EXPLORING THE PHYSICAL AND MENTAL LIMITS OF HER BEING, SHE HAS WITHSTOOD PAIN, EXHAUSTION, AND DANGER IN THE QUEST FOR EMOTIONAL AND SPIRITUAL TRANSFORMATION. ABRAMOVIC'S CONCERN IS WITH CREATING WORKS THAT RITUALIZE THE SIMPLE ACTIONS OF EVERYDAY LIFE LIKE LYING, SITTING, DREAMING, AND THINKING; IN EFFECT THE MANIFESTATION OF A UNIQUE MENTAL STATE. AS A VITAL MEMBER OF THE GENERATION OF PIONEERING PERFORMANCE ARTISTS THAT INCLUDES BRUCE NAUMAN, VITO ACCONCI, AND CHRIS BURDEN, ABRAMOVIC CREATED SOME OF THE MOST HISTORIC EARLY PERFORMANCE PIECES AND IS THE ONLY ONE STILL MAKING IMPORTANT DURATIONAL WORKS. 

FROM 1975 UNTIL 1988, ABRAMOVIC AND THE GERMAN ARTIST ULAY PERFORMED TOGETHER, DEALING WITH RELATIONS OF DUALITY. AFTER SEPARATING IN 1988, ABRAMOVIC RETURNED TO SOLO PERFORMANCES IN 1989. ABRAMOVIC HAS PRESENTED HER WORK WITH PERFORMANCES, SOUND, PHOTOGRAPHY, VIDEO, SCULPTURE, AND ‘TRANSITORY OBJECTS FOR HUMAN AND NON HUMAN USE’ IN SOLO EXHIBITIONS AT MAJOR INSTITUTIONS IN THE U.S. AND EUROPE, INCLUDING THE STEDELIJK VAN ABBEMUSEUM, EINDHOVEN, THE NETHERLANDS (1985), MUSÉE NATIONAL D’ART MODERNE, CENTRE GEORGE POMPIDOU, PARIS (1990), NEUE NATIONAL GALERIE, BERLIN (1993), AND THE MUSEUM OF MODERN ART, OXFORD (1995). HER WORK HAS ALSO BEEN INCLUDED IN MANY LARGE-SCALE INTERNATIONAL EXHIBITIONS INCLUDING THE VENICE BIENNALE (1976 AND 1997) AND DOCUMENTA VI, VII AND IX, KASSEL, GERMANY (1977, 1982 AND 1992). IN 1995, ABRAMOVIC’S EXHIBITION OBJECTS PERFORMANCE VIDEO SOUND TRAVELED TO THE MUSEUM OF MODERN ART, OXFORD, THE IRISH MUSEUM OF MODERN ART, DUBLIN, AND THE FRUITMARKET GALLERY, EDINBURGH. IN 1998, THE EXHIBITION ARTIST BODY - PUBLIC BODY TOURED EXTENSIVELY INCLUDING STOPS AT KUNSTMUSEUM AND GROSSE HALLE, BERN AND LA GALLERA, VALENCIA. IN 2000, A LARGE SOLO SHOW WAS HELD AT THE KUNSTVEREIN IN HANNOVER. IN 2002, SHE PARTICIPATED IN THE BERLIN-MOSCOW EXHIBITION, WHICH OPENED AT THE MARTIN GROPIUS-BAUHAUS IN BERLIN AND FINISHED ITS TOUR IN 2004 AT THE STATE HISTORICAL MUSEUM, MOSCOW. IN 2004, ABRAMOVIC ALSO EXHIBITED AT THE WHITNEY BIENNIAL IN NEW YORK AND HAD HAD A SIGNIFICANT SOLO SHOW, THE STAR, AT THE MARUGAME MUSEUM OF CONTEMPORARY ART AND THE KUMAMOTO MUSEUM OF CONTEMPORARY ART, JAPAN.
MARINA ABRAMOVIC HAS TAUGHT AND LECTURED EXTENSIVELY IN EUROPE AND AMERICA INCLUDING THE HOCHSCHULE FUR BILDENDE KUNST IN HAMBURG, AND THE ECOLE DES BEAUX ARTS IN PARIS. IN 1994 SHE BECAME PROFESSOR FOR PERFORMANCE ART AT THE HOCHSCHULE FUR BILDENDE KUNST IN BRAUNSCHWEIG WHERE SHE TAUGHT FOR SEVEN YEARS. IN 2004 SHE WAS AWARDED AN HONORARY DOCTORATE FROM THE ART INSTITUTE IN CHICAGO.
SHE WAS AWARDED THE GOLDEN LION FOR BEST ARTIST AT THE 1997 VENICE BIENNALE FOR HER EXTRAORDINARY VIDEO INSTALLATION/PERFORMANCE PIECE BALKAN BAROQUE‚ AND IN 2003 RECEIVED THE BESSIE FOR THE HOUSE WITH THE OCEAN VIEW‚ A 12-DAY PERFORMANCE AT SEAN KELLY GALLERY, NEW YORK. 

IN 2005, ABRAMOVIC PRESENTED BALKAN EROTIC EPIC AT THE PIRELLI FOUNDATION IN MILAN, ITALY AND AT SEAN KELLY GALLERY, NEW YORK. THAT SAME YEAR, SHE HELD A SERIES OF PERFORMANCES CALLED SEVEN EASY PIECES AT THE GUGGENHEIM MUSEUM IN NEW YORK, WHICH WERE AWARDED THE PRIZE FOR 2005-2006 BEST EXHIBITION OF TIME- BASED ART BY THE UNITED STATES ART CRITICS ASSOCIATION.
IN 2008 SHE WAS DECORATED WITH THE AUSTRIAN COMMANDER CROSS FOR HER CONTRIBUTIONS TO ART HISTORY. IN SEPTEMBER 2009 SHE WAS DECORATED WITH THE HONORARY DOCTORATE OF ARTS BY THE UNIVERSITY OF PLYMOUTH, UK. IN THE SPRING OF 2010, SHE HAD HER FIRST MAJOR RETROSPECTIVE IN THE UNITED STATES AT THE MUSEUM OF MODERN ART- NEW YORK, AND SIMULTANEOUSLY PERFORMED FOR MORE THAN 700 HOURS IN HER DURATIONAL PIECE THE ARTIST IS PRESENT.
IN SUMMER OF 2011, ABRAMOVIC WAS BESTOWED WITH THE HONORARY DEGREE OF DOCTOR OF FINE ARTS BY THE WILLIAMS COLLEGE IN WILLIAMSTOWN, MASSACHUSETTS. IN 2011 A THEATRE PIECE BY ROBERT WILSON ENTITLED THE LIFE AND DEATH OF MARINA ABRAMOVIC PREMIERED AND ABRAMOVIC'S RETROSPECTIVE THE ARTIST IS PRESENT TOURED WITH GREAT SUCCESS TO THE GARAGE, MOSCOW.
AT SUNDANCE FILM FESTIVAL IN UTAH AND THE CANADIAN FILM PREMIERE, REEL ARTISTS FILM FESTIVAL, TORONTO. ABRAMOVIC HAS MAJOR SHOWS SCHEDULED IN MARCH AT PAC AND LIA RUMMA GALERIA, MILAN. THE ARTIST WILL ALSO PERFORM IN ROBERT WILSON'S THEATRE PIECE AS IT MOVES LOCATION DURING APRIL AND JUNE IN MADRID, BASEL, AMSTERDAM AND ANTWERP. OTHER MAJOR EXHIBITIONS DURING 2012 INCLUDE FEAST: RADICAL HOSPITALITY IN CONTEMPORARY ART, AT THE UNIVERSITY OF CHICAGO, IMMATERIAL ART, AT THE MUSEUM OF MODERN AND CONTEMPORARY ART, RIJEKA, BALKAN STORIES AT KUNSTHALLE VIENNA, AND SOLO SHOWS AT LA FABRICA GALLERY, MADRI AND GALLERI BRANDSTRUP, OSLO. 
http://marinafilm.com/about-marina-abramovic