Sep 21, 2013
when i get a little bit drunk i feel like i can do anything for a little while and then i remind myself that i can't and i probably shouldn't tattoo myself and i should just go to bed or something.
seen from Sweden
seen from Brazil
seen from China
seen from Switzerland
seen from United States
seen from Maldives
seen from United States
seen from China
seen from Norway
seen from China
seen from Hong Kong SAR China
seen from United States
seen from United Kingdom
seen from Germany
seen from Norway
seen from United Kingdom
seen from United States
seen from United States
seen from Türkiye
seen from Türkiye
when i get a little bit drunk i feel like i can do anything for a little while and then i remind myself that i can't and i probably shouldn't tattoo myself and i should just go to bed or something.
things i can talk about
(not that i am an expert on any of these things, just that i can talk about them; i know some things about them)
eggplants
public transport seating upholstery
coloured pens from Japan
the subtractive colour model (cmyk)
dogs
artist run spaces in Perth
chewing gum
black skinny leg Levi's jeans
converse low top sneakers
Hype Williams
printmaking
IKEA
Apple computers and other devices
container ship accidents
grumpy cat
anxiety cat
anxiety
some parts of the Western Australian adolescent mental health system between 2005 and 2010
resin casting
my family
not crying and crying at funerals
Grimes
Yeah Yeah Yeahs
minor hand surgery
the Western Australian hospital system
agriculture
vegetarianism
shrink wrapping
tourism
subway systems in some foreign countries
coke zero
how coke tastes different in different countries
art school
Osgood-Schlatter disease
women in electronic dance music
the concept of privilege
asylum seekers
Risograph printing
cheese singles
zines
making jewellery
art and craft markets
arts grants
working in a club
Fringe Festivals
knife puns
cardboard boxes
(Radio Advertisements Wikipedia page)
I was thinking about advertising a few weeks ago, in relation to the ASAP unit.
not advertising anything, just showing something - something that doesn't require or compel action --> well no, i still want some kind of connection --> maybe not, maybe it's point number 1 on the connections continuum thing i made --> just a thing that people can see
levels of connection through something i make and put out somewhere
Someone saw a thing
Someone saw a thing and I know that someone saw a thing
Someone saw a thing, I know that someone saw a thing and I know what thing they saw
Someone saw a thing, I know that someone saw a thing, I know what they saw and I know something about them
Someone saw a thing, I know that someone saw a thing, I know what they saw, I know something about them and there is a way for us to get in contact
Someone saw a thing, I know that someone saw a thing, I know what they saw, I know something about them, there is a way for us to get in contact and we have gotten in contact
Someone saw a thing, I know that someone saw a thing, I know what they saw, I know something about them, there is a way for us to get in contact, we have gotten in contact and there is some sort of ongoing relationship between us
Also this. Hennessy Youngman on Relational Aesthetics
(I don't need to read no Bourriaurd)
"Basically Relational Aesthetics is when someone with an MFA wants to meet new people but because they spent all that time pursuing an MFA they don't know how to talk to people normally, they've got really poor social skills and they can't find no other way of meeting new people other than forcing them into odd activities at their own poorly attended art openings"
Walter Benjamin, The Work Of Art In The Age Of Mechanical Reproduction
Man, that shit's dense.
But here are some bits that were relevant:
(from Part 4) An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.
For centuries a small number of writers were confronted by many thousands of readers. This changed toward the end of the last century. With the increasing extension of the press, which kept placing new political, religious, scientific, professional, and local organs before the readers, an increasing number of readers became writers – at first, occasional ones. It began with the daily press opening to its readers space for “letters to the editor.” And today there is hardly a gainfully employed European who could not, in principle, find an opportunity to publish somewhere or other comments on his work, grievances, documentary reports, or that sort of thing. Thus, the distinction between author and public is about to lose its basic character. The difference becomes merely functional; it may vary from case to case. At any moment the reader is ready to turn into a writer. As expert, which he had to become willy-nilly in an extremely specialized work process, even if only in some minor respect, the reader gains access to authorship. In the Soviet Union work itself is given a voice. To present it verbally is part of a man’s ability to perform the work. Literary license is now founded on polytechnic rather than specialized training and thus becomes common property.
The second bit reminds me of Axel Bruns' Produsage.
Alexandra Mir, Newsroom 1986-2000, Mary Boone Gallery. 2007.
re: aesthetic, source material
also: "I lived in New York between 1989 and 2005, 15 years that roughly coincide with the time period of the show. As I never had a studio in the city, I developed a practice that relied heavily on communication instead: phone, Internet, publishing, travel, performance, ephemera, event production. This show draws on all of the above "
(link)
Felix Gonzalez-Torres. "Untitled." 1991. Installation view at 11th Avenue and 38th Street, Manhattan (February 20–March 18, 2012), as part of Print/Out, The Museum of Modern Art re: private content - public (advertising) context
Felix Gonzalez-Torres, Paper Stack 'Untitled', 1991, unlimited edition. re: distribution