COMMUNICATION-Classes/Seminars/Talks
-‘project’: overused word, seen also in funding applications, now used as the word we would use for artworks. think about the words you use, must be other words to describe your work.
- example of the Van Gogh shoes vs Andy Warhol: how they are talked about within their context and time, going from an elaborate way of talking about shoes (Van Gogh) to a flatness, structuralless-ness of postmodernism.
- assignement: collection of stuff (texts, photos, memories, sound, movements)
-who they belong to, where they come from, what’s the context, etc...
-communication about what it does as a collection + how they communicate with each other, communication about how collection relates to the place, communication of why you chose this.
- eg: ’ritual’ collection-collection of regular everyday sounds
- lists connects to collectors
-way of organising a collection that also speak to hoe the collection is communicated: what is important, what it is, what one chooses to write + how one chooses to write
- also runs the risk that things are read wrong, and that opens up into poetry (’I am that I am that I am that I am’ reading by I can’t remember the name)
- photography of same thing in different contexts is a visual list.
- ‘benefits of not taking a stand towards your artwork’, think about this?
-’seeing things’, Ian Bogost, film.
-’how to do things with words’ youtube link, on how language performs, J.L Austin, historian.
-object oriented ontology in relation to things in our collection of stuff
THE WORKERS exhibition
https://kunstkritikk.no/kuratorens-hevn/
https://vestfoldmuseene.no/haugar-kunstmuseum/arbeidstittel-the-workers
-first thoughts based on the kunstkritikk review and the communication text on the website:
-what?
-looked at ‘Tiqqun’ (Described as a french collective of authors and activists in the 90s, by MIT press; described as french-italian post-marxist anarchist philosophical journal), read a bit and kept wondering who are they behind these texts, because that positionality usually also informs my interpretation of something, which sometimes leads to ‘judgement’ or not.
-curator’s positionality is a bit clear and not: spending cuts (particularly in areas like social services) but he doesn’t make it obvious (in my opinion, as seen in this example). he’s not giving all the information, which either shows that he’s deliberately doing it or doesn’t know.
-why would he ask a five year old?
-but when reading the kunstkritikk description of the exhibition there seems to be lots of layers to those who know certain things about art and museums in norway (that arch example from the departure of previous director, room dedicated to department director at ministry of culture, merging of museums)
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own thoughts on assignement:
- collection of thoughts during the ritual of spending time with the cherry tree on the land of which I am the steward as an exercise to the question ‘if you were creating a ritual for yourself, what would you do?’
-writings (like fieldnotes?)
-sound recordings that are then written of written text that are collected as recordings?
-any drawings (pictures that come to mind while writing)
- ritual to get to know a tree ?
-there is no specialization anymore in museums in Norway
-dumbing down of ‘art’ (for example: removal of information, even if it’s historical and important to the exhibition)
-when there’s so much inside ‘jokes’/inside knowledge to the point that it excludes: can one have a ‘bit’ for everyone including the inside jokes?
-’co-creation’ with museums: where public participates in making the art exhibited. links to what Eline was saying about the quality of art made together with participants, and what’s the aim.
-’the painting besides itself’ David Joselit: how far do we go to make context important. (link to essay)
-curator role: affecting the art as opposed to communicating it, curating as co-creator with artists. care vs not caring and to what extent (’the one with the mirror is like a fuck you to the audience’: sometimes art shouldn’t be made for audience, should be made for other things before making it for an audience).
- create different ‘paths’ within the exhibition/make it broad enough for any kind of connection, auteur-curators
-the ethics of using an artist’s work in a different context, and being aware of the curator’s context within this and his own agenda (Marea saying she can’t change instructions to staff/communication tem as opposed ot him).
-also, focusing on one part of the artist’s work and exclude others, using an artwork for his own curatorial practice. for ex: kids playing inside the ‘trampoline net’ under a Palestinian and Israel flag.
-exhibition is an example of what one chooses to communicate about or not and how one is allowed to do this and who. the reason he was allowed to do it is because he is who he is, and his career. would a woman be ‘allowed’ to do this? curator of colour? this lack of ‘care’ thing, care for an audience or for the artists to som extent, who gets to do this and get away with it (and did he even get away with it in the first place? he’s quit the position and will go back to freelance, he can ‘fall back on his feet’ differently than if this was a woman or a person of colour no?)
-when being political: check the definitions of your terms and have it backed up.
-Hannah Arendt: view on politics (collectivity is politics)
- the neutral holds away from you but also doesn’t take a stance, it’s indifference, it’s generic.
- Jacques Rancier (book on aesthetics): making sure we are distributing this ability of understanding to all people. trying to figure this out witout having an answer makes for a dialogue in a radical way (different from Arendt). potentiality of politics is related to how one feels in relation to something.
- ALSO COMMUNICATE (WITH) FEELINGS IN COMMUNICATION OF ART
- making lists/categories is a way of dividing, separating the ature from culture, separating each ‘thing’ from its relation, its hole. ‘lists refuse the connecting power of language’ (Buford) lists is a junction instead of a flow.
- alias phenomenology-Buford
- undercommons- Harley & Morton : way of being together in brokenness.
-making lists implement categories in the world that you’re making.
- biography of things. making sense of the world based on collecting. forest library, forest council, forest coalition what is a collective space of knowledge?
- care is the new way forward.
- taking things out of contexts makes new contexts, they will always make connections, new connections. link to undercommons.
- opposite of making an exhibition which only a select few will really understand
- collection related to the Oslo 200years jubileum, and that’s the link between all the art pieces that makes a whole:
Utstillingen HEL/DEL fremhever på sin side fragmentene og enkeltdelene som enhver helhet består av. Inspirert av det latinske uttrykket Pars pro toto – delen [står] for helheten – presenterer Oslo kommunes kunstsamling kunstverk og objekter som inspirerer til tankeleker rundt forholdet mellom helhet og del.
- exhibiting in the library means that people interact with the art differently than a museum (people playing chess on the Jonas Kvie ‘vessel’ piece)