Friday, January 8, 2016

(A Domestic) _Accepted proposal_ Runway magazine/platform: "Ecologies" issue

(A Domestic)The word “ecology” is derived from the Greek word oikos meaning “home,” thus an ecology is quite literally a study of the home, which is interesting only in its obvious feminine undertones, as though such disciplines refer to the fragility of nature against human (male) intervention. The notion of human control over environments that are essential to all life, one would hope, is contemporaneously understood as misguided, and yet all things pertaining to bare life and to home life, “caring labour” and the domestic, are consistently undermined by discourses that privilege a kind of thought independent of its source, absent a body. The work would take the form of a video essay, an homage to the work of Chantal Akerman, specifically the films “La Chambre” (a short film literally revolving around what is presumably the home of the director), and “Letters from Home” (a rich visual survey of New York in the 1970s, coupled with a voice over of letters apparently from the director’s mother). It will be a paean to domestic art (both Australian and of the home), compiled of video footage of the artist’s own home, the ‘walked’ experience of Sydney, as well as engagement with other artists and musicians, and overset with poetic text on the theme.

(For Elise Harmsen).

Wednesday, January 6, 2016

Rejected Proposal _Container Artist Residency_ Z.O': Contained

Artist Bio. 
To begin, I have no inclination to either write this in the third person or have someone else speak for me. The artist bio belongs to the bureaucratic dissemination of the arts, via institutions and galleries linked to the machinations of corporate capital underpinning culture, which must either directly justify itself as economically rationalisable or go through the university system, which is increasingly and ultimately subject to the same checks and balances. Ultimately the discussion of this is the art, as was it ever: portraits of the wealthy. This is what I make/do.

Letter of Intent.
The work produced to date has employed poetics as a method of critique of the supreme rationalisation of societies under late capital. Historiography is rather utilised to open up and defy rationalisation, than to inform and affirm existing power structures. It has taken the form of zero-impact sculpture and painting (works derived from waste product) as well as video and prose poetry readings. The container residency would be used to create a poetic work ruminating on the challenges concerned with what is expedient and efficient both in time and politically/environmentally (shipping being one of the most environmentally sound modes of transportation). This would be turned into a performance and video as well as a series of illustrative mock Mediaeval Banner Paintings. The paintings themselves, as well as being stand-alone works, are meant to be a physical exploration of the changing (anglocentric) definition of art, where the etymological root (in French also) suggests “man-made” and thus somehow outside-of or above nature, which would contemporaneously seem wrongheaded, especially given the now obvious impact of exactly that kind of thought on the environment. The banner paintings utilise discarded bed sheets (again, common practice before industrialisation) which makes them easily transportable and easy to work on in confined spaces.The works are currently painted using mis-tints (lime washes), which serve several material ends, in that they are inexpensive; they constitute environmentally sound practice (as they would likely otherwise go to waste and they are non-toxic and created from natural and sustainable materials to begin with); and that they are made from the same materials that would have been used in mediaeval times by artists to create primitive advertisements for things like fairs (lime washes being a lot cheaper and less precious than the kind of pigments and materials that go into oil paint).

Links (videos).

Link (Banner Works).