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Wiki for Arts and Studies
Emma Parker
Emma Parker, a.k.a. Stitch Therapy, is an embroidery artist from the UK.
âMy work explores the darker and often hidden aspects of being human: fear, shame, abandonment, despair and the broken â with an occasional twist of humour added for sanity. I use discarded and worn materials in my work and see the act of making with them as a process of transformation and salvaging of the broken self."
âThe use of thread and stitch helps me make connections and piece the broken together whilst the repetitive nature of hand sewing is a soothing rhythm, which nurtures and helps mend. In my work I often include fragments of narratives or imagery that may tell only part of a story, leaving it up to the viewer to find their own ending.â
Irish Neolithic beliefs centered on a connection to the natural world and the afterlife, featuring animism, reverence for ancestors, and worship of a powerful Earth Goddess. These beliefs were expressed through the construction of monumental tombs, like passage tombs and megalithic structures, which served as burial grounds, ceremonial centers, and expressions of both a belief in the afterlife and the social structure of the time. Astronomical alignments and imagery found in these structures suggest sophisticated knowledge of the cosmos.
Colin Lyons
Boom Town
Modelled after former industrial buildings along Montrealâs Lachine Canal, Boom Town is an installation of print-based sculptures that considers the possibilities after industrial obsolescence. Meticulously rendered from source photographs, these etching plates are first printed as blueprints, and later cut and folded to make small-scale paper architectures. Finally, the end of the edition is marked by soldering the plates together, thwarting the process of mass production, while giving the plates a new purpose. Piled on top of one another, these sculptures can be read as a mass burial site, monument, or heap of scrap metal. The incongruity of these industrial structures built delicately out of paper reminds us of the one-time as
 EMERITUS PROFESSOR Barkley L. Hendricks (1945-2017) received the inaugural Presidentâs Award for Creative Impact from Connecticut College
Ruby Wallis
ruby wallis: photography artist
https://atribalvision.com/interviews/008-ruby-wallis/
Andrew Gallix: The new vogue in literary theory is shot through with earlier ideas
Like its close relative psychogeography, hauntology originated in France but struck a chord on this side of the Channel. In Spectres of Marx (1993), where it first appeared, Jacques Derrida argued that Marxism would haunt Western society from beyond the grave. In the original French, "hauntology" sounds almost identical to "ontology", a concept it haunts by replacing - in the words of Colin Davis - "the priority of being and presence with the figure of the ghost as that which is neither present, nor absent, neither dead nor alive".
Hauntology is a concept that explores the persistence of the past in the present, like a ghost. Coined by philosopher Jacques Derrida, it's a blend of "haunting" and "ontology" (the study of being) to describe how elements from the past continue to influence or "haunt" our cultural and political landscapes. This can manifest as a sense of nostalgia for lost futures, an echo of unresolved histories, or a cultural fascination with vintage aesthetics.Â
The past is not gone: Hauntology views the past not as a finished event but as a spectral presence that continues to influence the present in unexpected ways.Â
Lost futures: It also encompasses a "haunting" from what never came to be, such as the utopian futures that were promised but never arrived due to shifting social and political realities.Â
Cultural echoes: In a cultural sense, it can be seen in a renewed interest in retro aesthetics, vintage technology, and the "faded" sounds and images of a previous era.
Beyond the literal ghost: While the term uses "ghost," it refers more to the "specter" of a past idea, memory, or future that lingers in a way that is both present and absent.Â
Applications: The concept is used across many fields, including philosophy, cultural studies, music, art, and literary criticism.Â
Fluxus Scores
Pauline Oliveros
Sounds carry intelligence. If you are too narrow in your awareness of sounds, you are likely to be disconnected from your environment. Ears do not listen to sounds; the brain does. Listening is a lifetime practice that depends on accumulated experiences with sound; it can be focused to detail or open to the entire field of sound. Octogenarian composer and sound art pioneer Pauline Oliveros describes the sound experiment that led her to found an institute related to Deep Listening, and develop it as a theory relevant to music, psychology, and our collective quality of life. Pauline is a composer and accordionist who significantly contributed to the development of electronic music. The culmination of her life-long fascination with music and sound is what inspired the practice of Deep Listening, the art of listening and responding to environmental conditions. As a Professor of Practice in the Arts Department at Rensselaer Polytechnic Institute, she produced highly regarded work as a composer and improviser. Paulineâs 1989 recording, Deep Listening, is considered a classic in her field.
Fluxus cofounder Alison Knowles discusses the history of the movement and her work with Philip Blackburn in 2002 at Cave Paper in Minneapolis. Alison performs on the Bean Turner; flax paper containing red kidney beans
Dive into the revolutionary world of the Dada art movement in our visually captivating video, "Discovering Dada: The Art Movement That Shook the World." Journey back to the early 20th century, uncovering the historical and cultural upheavals that sparked this avant-garde movement. Explore the defining characteristics of Dadaism, from absurdity to anti-art sentiment, and meet influential artists like Marcel Duchamp and Hannah Höch, alongside their iconic works that challenged conventions.
Jesse Jones
âThe Towerâ, is a new work by artist Jesse Jones, and the third exhibition in the Magdalene Series at Rua Red, curated by MaolĂosa Boyle. Jesse Jonesâ new film installation is the second part in a trilogy beginning with âTremble Trembleâ, which was commissioned for the Irish Pavilion at the 57th Venice Biennale in 2017. Working with Rua Red dancers in residence Junk Ensemble, and a cast that includes actors Olwen FouĂ©rĂ©, Naomi Moonveld-Nkosi and a young choir of performers, âThe Towerâ turns to the figure of the mystic and the heretic and questions âWho came before the witches? The Magdalene Series features the work of five of Irelandâs leading artists Amanda Coogan, Jesse Jones, Grace Dyas, Alice Maher, and Rachel Fallon. The artists were commissioned by Rua Red in 2018 to create work in response to the conflicted and mysterious figure of Mary Magdalene. Over the last three years, the artists have been informed by a series of lectures by researchers, feminist theologians, and art historians on the history and legacy of the Magdalene, her association with the incarceration and institutionalisation of women, and the influence of religious, political and societal doctrine on her character. Based on the writings of medieval female Christian mystics, âThe Towerâ explores the women who were burned as heretics even before the first witch trials in the 17th century. It looks to a moment of radical potential, delving into the lost knowledge of womenâs devotional and ecstatic visions and evoking the incarcerated penitent at prayer and at work. "Jesse Jones takes us to the time that anticipated the witches' inquisition and invites us into the Tower. Here she summons the stories and visions of women that are both saints and witches and whose imagination held power to 'world new worlds' before it was crushed by the heresy trials that swept Europe in the 12th century. Through the figure of Mary Magdalene, the music of 11th-century abbess and polymath composer Hildegarde af Bingen, and the inspired writings of medieval mystic Marguerite Porete, Jesse Jones unleashes the experience and injury of women's incarceration across Ireland, the UK, and France. With âThe Towerâ Jesse Jones doesn't merely correct history but makes space for spaciousness: for future, intangible or alternative worlds that are not limited by patriarch, eurocentric, and even human exceptionalism. In the immersive installation, we travel instead through Mary Magdalen's embrace of the sacred and the sensual; inside the mythic quantum energy of the natural world animating Hildegarde af Bingen's music, and around, the unfamiliar landscapes of divine love (agape) for which Marguerite Porete was sentenced to death in 1310." (Tara Londi, Art critic and writer.) In the alternative world of âThe Towerâ, a giant pillar recalls Luis Buñuelâs âSimon of the Desertâ and reflects the life of devoted ascetic Saint Simeon Stylites, who waited on top of a pillar for six years to prove his devotion to God. Jonesâ pillar proclaims the possibility of a world without shame, and reclaims the radical and mystical potential apparent in many women writers of the 14th century, that was crushed by the period of the witch trials, the rise of capitalism, and the weaponization of shame. âIn Europe, they say, âWe are the great-great granddaughters of the women you tried to kill in the witch trials,â and in Ireland, we say, "We are the daughters and granddaughters of the women you tried to incarcerate and suppress,â - (Jesse Jones)
Joan Jonas
Artist Joan Jonasâ earliest performance works, âSongdelayâ (1973). Filmed with a cast of performers in downtown New York near the Hudson River, the work explores how sound travels and can be distorted
Caragh Thuring â 'A Painting Tells You When it's Finished'Â
'How can you make something that is flat against the wall take up space?' Artist Caragh Thuring talks about her new paintings and the representation of space in two dimensions. Focusing on architectural elements or landmarks, Thuring's paintings begin with extensive visual research - research which leads straight to paintings directly on to unprimed linen canvas. In this film she discusses where her inspiration comes from, how she knows when a painting is finished, and the 'act of generosity' it takes for a viewer to spend time with a painting.
Guy Ben-Ner
International Gallery For Contemporary Art located in Tel-Aviv and Zurich
Guy Ben-Ner was born in Israel in 1969 and currently lives in Tel Aviv. Since the early 90s, Ben-Ner has filmed a series of videos starring himself and his family, sometimes using the intimate spaces of their home as ad-hoc set or, conversely, in one well known work, using the display sets of Ikea as a setting for a domestic drama. More recent works move away from the use of his family, but often still focus on the ethical question of where to draw the line between art making and personal and professional relations. The videos wittily mix the home-made and a sophisticated range of literary and art historical references.