Keywords: Κατοίκιση - Σώμα - Χώρος
Interconnectivity
Body as a Trap
Σύνδεση του υλικού χώρου με του μη-υλικού
Transcendence to a different world
.･:*:･ﾟ’✫,’✫’ﾟ･:*:･˙
JULIANA HUXTABLE
“The performance is three different parts. It was about playing with the description of experiences of fleshliness. The first part was about the feeling of being on the train and feeling you might be attacked or seeing someone next to you and that goosebumps feeling.
I think that’s a definitively out-of-body thing, especially when you are the person to whom the spectacles are directed. I feel that was a moment of disappearing into your flesh, where you become aware of every part of yourself and what could be scrutinized, what is open and vulnerable, and you only really think of yourself as something that you don’t own. All of a sudden, it’s just this thing that is filling over with the risk of being harmed. I wrote this piece, describing this moment, also describing it as a beautiful disembodiment, to think about that experience as something rewarding or sublime.
I have done performances where I have used my body, but that performance would be about presence and immediacy and duration, and that is an opportunity for me to disappear from my own body, and for me to disappear from the weight of feeling like I have to be aware and perform my body. So, it’s really nice to be in this environment that is all visual and musical and spoken. It creates a space in which I can just become part of those textures.”
Δεν έχω βρει ολόκληρη την περφόρμανς, αλλά αυτό το ποίημα συμπεριλαμβάνεται μέσα σε αυτήν.
Link με περισσότερες φωτογραφίες
There are certain facts that cannot be disputed (2019)
“The triennial was a really important moment for me, but at the same time I think it gave people this desire to access my body,” Huxtable said. The vocal effect, she stated later, “was about being present but abstracting my presence. How can I give you my voice, but distort my voice?”
Απόσπασμα από το Press Release:
"Realized in collaboration with an ensemble of music, sound, video, and lighting artists, three vignettes address the vexed relationship between the ephemeral nature of digital information and the drive for historical documentation in cyberspace, particularly as it relates to closed servers, bounced URLs, and Google cache. Huxtable, who approaches the Web as a vital resource for narratives that are usually discarded or placed in the margins of history, considers how the Internet has evolved from a largely text-based medium to one propelled by the power of visual symbols. She imagines these virtual spaces as twilight zones of desire, where music, dramatic oration, video, and the presence of human and digital characters coalesce into an immersive, schizophrenic experience that traverses topics as diverse as black samurai, trans-healers in South Africa, pre-colonial globalism, and human evolution."
.✫*ﾟ･ﾟ｡.★.*｡･ﾟ✫*.
Jon Rafman
Still Life (BETAMALE), 2013
Video Stills:
"uncertain, tangible-yet-not, interconnected space"
“This is not the safe and corporate internet of Facebook or Google; “Still Life (Betamale)” is drawn from the visually overloaded world of 4chan, as obsessively browsed by a man who lives in his mother’s basement.”
You Are Standing In an Open Field, 2013
Extra Photos: http://www.zachfeuer.com/exhibitions/jon-rafman/
I am Alone But Not Lonely, Installation 2013
O'Keeffe Antechamber, 2013, Archival pigment print mounted on dibond
Giacomo Balla 50's Living Room, 2013, Archival pigment print mounted on dibond
BETAMALE, 2013, Video Still
・・・・★・・・・★ ・・・
Installation view, 2015 at Zabludowicz Collection | Betamale (Portal), 2014, Mixed media video installation
Installation view Jon Rafman, 2015 at Zabludowicz Collection
Sticky Drama (2015)
<<In Sticky Drama, he portrays a version of the physical world, though it is a fantastic and futuristic one that is inextricably linked up with the virtual.
“Jon Rafman: In Sticky Drama in particular, I wanted to examine the relationship between memory and data, and the ways in which they are both corruptible, fragmentary, and subject to decay. “
“Imagined space, cyberspace, and meta-space all inform and shape one another while indistinguishably oozing together into some new assemblage.........That is very interesting notion that speaks closely to my Nine Eyes of Google Street View project. In point of fact, I have always seen a Google Street View image as essentially a “memory” that nobody has actually had. In Sticky Drama I was interested in using obsolete technology as an entrance point into accessing cultural memory, and in that case I do think there is a type of archeology at work.”
Drawing on the simulated landscapes of computer games, Rafman has created a large-scale artificial hedge-maze populated with digitally manipulated sculptural busts from his series and a new 8ft figure. The installation heightens the collapse in our distinctions between the real and the digital as visitors are invited to enter a virtual space using Oculus Rift technology. Transporting us from the maze, imaginary scenarios interchange with tangible experiences and dissolve our perceptions of place and time.>>
9 Eyes of Google Street View
`*:;,．★ ⌒ ☆・:.,;*
Alexandra Metcalf
Room 131 (2016)
"1997. Already riddled with fear. Crawled into older sisters bed. Lay on the side of the bed nearest the window. Sister sleeps on the edge of the bed. Never want to be near the door, first to be spooked or worse. Sister fast asleep while the door wide open looked out to a landing and then the carpeted stairs continued to the attic bedroom, where the eldest sister once resided. Yet she had long since moved to America, a dark coldness forever stuck there. When the house was viewed from the street outside all electrical wires converged and met at a point right outside her window. Electrical. Sister asleep, if eyes were to open all she would see would be the left side of her white wooden desk, completely blocked from any dangers coming from the ajar door. The perspective from the safer, near the window, position allowed for a first row seat to the carpeted stairs and the dark cool mass coming from the attic room. In the midst of the mantra eyes glanced skittishly to the open door. There stood the Hat Man..
2016. Fantasy relays that knights save. A knight has duties. A knight protects. A half baked knight getting high forgetting his tasks is held up in a motel room. He’s riddled with self-guilt and worthlessness, oh to be born into a lineage of greatness and to be but the one that fails. This is the one that can’t but rather shivers at the site of any quest. The Knight’s reality. Enters the Shadow Man. The Angel of Death he wonders? Oh how lovely that might be? A friend from somewhere else perhaps, Someone passing through maybe with some wisdom of his own to pass on to this hopeless fellow. His hallucinations intensify. His swords taking form of some Other Land. The Hat Man he wonders. I can’t sleep a wink. I need to get rid of this feeling. I’m afraid of the night."
★・・・・・・★・・・・・・★・・・・・・★
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