“C.L.U.E. (color location ultimate experience) is a collaborative video, installation and performance work by artists A.L. Steiner + robbinschilds, with AJ Blandford and Seattle-based band Kinski. The performance and installation-based works have been presented in exhibition and performance venues internationally. The video works range from a single-channel piece (C.L.U.E., Part I), to multichannel pieces, up to 13-channels. ” (credit)
Category Archives: Spectacle
Marina Abramović and Ulay, Relation in Space (1976)
Mike Dax, Salt Drawing (2022)
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SALT from Michael Dax Iacovone on Vimeo.
“Artist Statement:
I like to think of drawing as a broad term, not limited to pencil on paper. Drawing is a record and a representation. It can be a record of what something looks like, or it can represent a location, or an action. It can be a record of an event, or an idea, but it isn’t mistaken for any of these things, it is not a substitute. I draw by moving through spaces based on systems. The artifacts of these journeys are records of those drawings.
I create systems to experience spaces through movement and labor. I make art by creating maps, drawings, photos, and videos that utilize the virtual understandings of space to create systems and formulas to actually experience those spaces. Ideally, the presentation of the formulas and systems along with the visual manifestation of the work will influence the viewers into considering and possibly experiencing their own spaces differently…. but that’s a lot to ask. Maybe someone just wants to look at it, and I’m good with that.” (credit)
VALIE EXPORT/Peter Weibel, Aus der Mappe der Hundigkeit (From the Portfolio of Doggedness) (1968)
“VALIE EXPORT/Peter Weibel, Aus der Mappe der Hundigkeit (From the Portfolio of Doggedness), (1968)
Documentation of the action 5 black-and-white photographs, vintage prints, 40.3 x 50.3 cm / 50 x 40.3 cm each, framed between 2 glass plates, flush 40.3 x 50.3 cm / 50 x 40.3 cm each, fixed with black textile adhesive tape Photographer: Josef Tandl
Five black and white photographs document the action From the Portfolio of Doggedness, which VALIE EXPORT and Peter Weibel carried out in Vienna in February 1968. EXPORT took her fellow artist for a walk—he crawled behind her on all fours on a leash—along the Kärntner Strasse in Vienna, one of the central streets and main shopping areas. This “sociological and behavioral case study” (EXPORT) belongs to the actionistic tradition. “Here the convention of humanizing animals in cartoons is turned around and transferred into reality: Man is animalized—the critique of society as a state of nature” (Weibel). Turning around a piece of normal social behavior makes transparent a particular symbolic order—that of gender specifics—and subjects it to criticism. Here, an active woman leads a passive man on a leash. Crawling, a form of animal behavior, is not, however, a reference to liberation from moral and political discipline or a “better” system. Rather, it points out the necessity of restructuring the social order that has been handed down to us. Photography has a documentary function here, it acts as an “ethno-graphical” study and shows particular communication processes in the observable reactions of the onlookers. The structures of the gazes disclose social behavior and contrast with the action. (Claudia Slanar)” (credit)
Daniel Crooks, On Perspective and Motion – Part II (2006)
On Perspective and Motion – Part II from Daniel Crooks on Vimeo.
“I Love walking, particularly as a flaneur getting Lost in the back streets of foreign cities. I also spend a Lot of time watching and filming people walking in cities. It might have something to do with my training as an animator analysing people’s ‘walk cycles’.
There is something about the speed of walking; that rate of movement with a particularly human scale – not too fast, not too slow – the Goldilocks point for objects moving through a frame. And walking is not only a Linear movement through space, it also contains the internal pendulum cycles of swinging arms and Legs, the sine wave bobbing of the head, the Last-second infinitesimal raise of the toes.
As a subject for exploring normally unseen temporal structures, walking is almost perfect. There is a fundamental familiarity to it that offers the viewer a thread or a bridge between the known experience of the everyday and the abstract objects of our imagination.” (credit)
Hiwa K, Pre-Image (Blind as the Mother Tongue) (2017)
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Single channel HD video, 17:40 mins
“Work Description
Pre-Image (Blind as the Mother Tongue) re-traces a journey undertaken on foot by Hiwa when he fled Iraqi Kurdistan in the mid-1990s. This long and often dangerous journey — lasting five months and two days and passing through Iran, Turkey, Greece, France and Italy — was an “experience of space and time” and a “fracturing of spatial and cultural experiences.” Each point along the way, whether a city or town, was experienced fractally, and always from below — with no overview.
In this work, the artist uses an adapted balancing device, equipped with motorcycle mirrors, to re-create the disorienting experience of space and time experienced by so many making similar journeys. One mirror reflects what is ahead, another behind, while the others reflect the artist and his immediate surroundings. To walk forward he must balance and control the device, alluding to the effort needed to keep moving and recalibrate oneself to new contexts.
Artist Biography
Hiwa K’s works have been included in group exhibitions including Documenta 14, Kassel (2017); 56th Venice Biennial curated by Okwui Enwezor (2015); Asian Art Biennial, Taipei (2019); 21st Contemporary Art Biennial Sesc Videobrasil, Sao Paulo (2019); Anren Biennale, Sichuan (2019); Yinchuan Biennale (2018); and MOMA Ps1, New York (2019).
Recent solo exhibitions include: Kunsthalle Mannheim (2019); S.M.A.K. Museum, Ghent (2018); KW Institute of Contemporary Art (2017) and KOW Gallery, Berlin (2016). His work has been awarded the 2019 Hector Preis and in 2016, both the Arnold Bode Prize and the Schering Stiftung Art Award.” (credit)
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Marina Abromović, Shoes for Departure (1991)
“Shoes for Departure”, an art piece by Marina Abramovic (1991). In her artist statement she says, “Then I have crystal shoes. I have instructions for the public to take off your shoes and, with naked feet, put on the two crystal shoes, close your eyes, don’t move, and make your departure. I’m talking about a mental, not physical, departure. So the public can enter certain states of mind helped by the material itself. Material is very important for me. I use crystals, human hair, copper, iron. The materials already have a certain energy. ” (credit)
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Lucia Monge, Plantón Móvil (2010-)
Lucia Monge (1983-)
“Lucia Monge started bringing people and plants together as Plantón Móvil in Lima, Peru. This is a participatory, walking forest performance that occurs annually and leads to the creation of public green areas.
“Plantón” is the word in Spanish for a sapling, a young tree that is ready to be planted into the ground. It is also the word for a sit-in. This project takes on both: the green to be planted and the peaceful protest. It is about giving plants and trees the opportunity to “walk” down the streets of a city that is also theirs. This walking forest performance culminates with the creation of a public green area.
Plantón Móvil started in 2010 while I was walking around Lima, my hometown, and noticing how many trees and plants had their leaves blackened with smog, were being treated as trash cans, or even used as bathrooms. I started to put myself in their place, and thought I would have left town a long time ago. Instead they are sort of forced to sit there and accept this abuse because of their planted “immobile” state. I wondered what it would be like to encounter a walking forest that had taken to the streets like any other group of people would do, demanding respect.
Plantón Móvil, however, is not a group of people carrying plants: at least for that time being we are the forest. I find it important to make this distinction because it changes the nature of the gesture. This is about lending our mobility to plants so that they can benefit from the speed and scale that draws people’s attention. In return; we may momentarily borrow some of their slowness. Essentially, it is about moving-with as a form of solidarity.” (credit)
Sebastián Díaz Morales, Pasajes IV (2013)
“Sebastián Díaz Morales (1975-), Pasajes IV, Digital video / HD format / 22’40 min on 5:30 hs loop / 2013, 32’’ monitor; Character: Maya Watanabe
This idea follows the same narrative, concept and structure as of former Pasajes video series.
In the so far three Pasajes video works a similar formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which would be naturally disconnected from each other. This is the geography of a story expressed in an alteration to the normal, which so far aroused from a montage of urban spaces.
In this proposed formulation of Pasajes the video explores the landscape of Patagonia.
Crisscrossing this territory in the search of the differences on the landscape, a character as a guide, unites different territories disconnected in its geography, as essential pieces of a puzzle to understand this region’s present.” (credit)
Alana Bartol, Sight Unseen: An Un-camouflaging for Guildwood (2014)
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“The ghillie suit is traditionally used by military snipers and hunters to camouflage the human body, allowing the wearer to blend into various natural landscapes. Sight Unseen: An Un-camouflaging at Guildwood was part of a series that repositioned the ghillie suit in the open air of suburban space and areas slated for development.
For Restless Precinct, I created a series of “un-camouflagings” in Guildwood Park in partnership with the Community Arts Guild Youth Theatre Troupe, an offshoot of Jumblies Theatre. The project evolved over six weeks, exploring concepts of visibility and belonging through our relationship and engagements with nature and each other. Participants learned how to create their ghillie suits, and together we developed movements in response to the site. Guildwood Park (now Guild Park and Gardens) contains over seventy architectural fragments and edifices. The research revealed that the park was once the location of Bytown II, a military training base for radio operators in the Women’s Royal Canadian Naval Service during World War II. A custom camouflage headpiece was created for a sculpture entitled Musidora (artist unknown) and installed for the duration of the exhibition. This work was a gesture toward acknowledging the invisibility of bodies, histories and contributions at Guildwood Park, including a site specific
work created by Ana Mendieta. The culminating performance took place as part of Restless Precinct’s opening events.”