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This is "Anxiety Attack Advert Final Cut" by Martha Ritchie on Vimeo, the home for high quality videos and the people who love them.

Final outcome for the “Anxiety Attack Advert”, I got my friend to record one of the scripts I wrote and overdubbed it over an old flash advert.The voice sync up is not perfect but I think it gives a good enough jist of what the idea I want to put across. Going to make this advert properly when we can start working with people again.

Ideally I would have liked to have produced the advert from scratch using an actor, but due to lockdown restrictions I was only able to mock up the vibe of the advert.

The piece is a development of this idea of anxiety growing like mould within the home, in a world like that there would be cleaning products to help eradicate this anxiety when it cropped up. Advertising in todays society is filled with discourse on feminism and gender politics, especially cleaning products.

It is said that cleaning in the house is still predominantly completed by the woman, one of the last unequal frontiers in todays society. In my alternative reality would this still be true? Would the women be responsible for cleaning the anxiety for all the family? How would one differentiate each persons anxiety? Would it be a different colour/shape? Or would all anxiety just be the same?

Would be interesting to play about with different voices.. ive found that most cleaning adverts are narrated English men, even though they are geared towards women.. what does this say about gender within advertising? Men in positions of power providing women the tools to upkeep the house.

creative-enquirymartharitchie

proandproductionmartharitchie

Corps étranger - Mona Hatoum

Presenting the human body in a new way. Everyone has these orifaces but we rarely get this upclose and personal view of them. These are apart of our body but we feel a distance towards them, they appear alien and strange.

rachel whiteread

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Glitch Art

What is glitch art?

Glitch art is a visual style characterized by using digital or analog errors for aesthetic purposes, whether that be intentional (that is, “faking glitch” and obtaining a similar aesthetic through design) or by accident (a true manifestation inside of the system without human intervention).

The term “glitch” itself originates with engineers and astronauts to explain faults within the technology they were working with: spaceship and rocket hardware. But the visual aesthetic can be traced much further back, to the beginning of the 20th century through distorted forms in cubist paintings, abstract short films and pixel-like rug designs akin to 8-bit video game landscapes.

Fast forward to the modern day, where we often see this distorted imagery in pop culture as a collective acknowledgment of how technology has involved itself in our everyday lives and how easily destructible it is.

Rosa Menkmen, author of The Glitch Moment(um), explains the duality of glitch art in pop culture: “On the one hand, there are the tactical and critical artists who use the technique to criticize popular culture, and on the other hand the technique now is very much alive and part of this same culture.”

Glitch art as a movement could be compared to that of punk music. Its revival was also challenging media that previously seemed out of reach for many: glossy, flawless, unrealistic .But glitch art has become much more than a movement to celebrate imperfections and comment on contemporary culture.

But the popularity of glitch art does convey a widespread acknowledgement of system failures and our own vulnerable and often fragile relationship with technology.

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Alice Mackler

makingspacemr

JJ Charlesworth finds beauty, along with a sunny view of the future, to be something of the past and Isobel Harbison argues that beauty, beyond skin deep, is always relevant

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Roger Hiorns

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A derelict bedsit is transformed into a world of crystalised wonder

You walk in, it’s the purest thing, it’s un-trodden, its rather like the Moon perhaps and now its impure because the participants, the people who go inside are playing a part in its decay in its failure, in its collapse. You will have people trampling it under foot…this kind of pure crystal is not pure any more. It has got contaminants - the viewer itself is a contaminant and so it is really interesting to kind of see how the work will aesthetically change. It’s a piece which can sort of offer a certain level of spectacle. That you want to just be immediately engaged in and then you want to disengage yourself immediately too, then I think this is actually a piece of work that can actually achieve that. And I think also as well that then you can actually if you wanted to have a little bit longer as a reading you can actually read the clues, read the signs, that the work is offering perhaps and that might give a completely different reading because it is making is complicated and slightly strange.

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Specific interest peice

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In 2007, an exhibition of Twombly’s paintings, Blooming, a Scattering of Blossoms and Other Things, and other works on paper from gallerist Yvon Lambert’s collection, was displayed from June to September at the Museum of Contemporary Art in Avignon. On July 19, 2007, police arrested Cambodian-French artist Rindy Sam after she kissed one panel of Twombly’s triptych Phaedrus. The panel, an all-white canvas, was smudged by Sam’s red lipstick and she was tried in a court in Avignon for “voluntary degradation of a work of art”.

Sam defended her gesture to the court: “J'ai fait juste un bisou. C'est un geste d'amour, quand je l'ai embrassé, je n'ai pas réfléchi, je pensais que l'artiste, il aurait compris … Ce geste était un acte artistique provoqué par le pouvoir de l'art” (“It was just a kiss, a loving gesture. I kissed it without thinking; I thought the artist would understand …. It was an artistic act provoked by the power of art”).

The prosecution described the act as a “sort of cannibalism, or parasitism”, but admitted that Sam was “visibly not conscious of what she has done”, asking that she be fined €4,500 and compelled to attend a citizenship class. The art work was worth an estimated $2 million. In November 2007, Sam was convicted and ordered to pay €1,000 to the painting’s owner, €500 to the Avignon gallery where it was exhibited, and €1 to the painter.