how do i engender the desire for consumption in my daily thoughts realities choices and modes of being in this 21st century world, my REALITY?
to make it simpler, how do i enact the desire to be what i consume, every day?
this essay on Harun Farocki: http://www.frieze.com/issue/article/regarding_history/
"His emphasis on the instrumental uses of visuality runs counter to the formalist insistence on the sanctity of the image and disinterested nature of visual pleasure. "
Found through 16 Beaver seminar "Something Becomes Visible": http://www.16beavergroup.org/farocki/bibliography.htm
Tuesday, November 16, 2010
Friday, November 12, 2010
While in Viña
Need to Find: "Poetics and Politics" by Catherine David (Documenta X Kassel, 1997)
EXHIBIT:DISLOCACION | ||||||||
http://www.dislocacion.cl/index.php
Museo de la Solidaridad Salvador Allende, Santiago de Chile Av. República #475 Santiago de Chile Chile fon 689 87 61 mssa@mssa.cl  homepage | ||||||||
DISLOCACION Autor / Kurator: Ingrid Wildi Merino Künstler: Ursula Biemann, Sylvie Boisseau & Frank Westermeyer, Juan Castillo, 000 Estudio , (Javier Rioseco), Thomas Hirschhorn, Alfredo Jaar, Voluspa Jarpa, Josep-Maria Martin, Mario Navarro, Bernardo Oyarzun, RELAX (Chiarenza & Hauser & co), Lotty Rosenfeld, Ingrid Wildi Merino, Camilo Yanez. Pressetext: Venues: Museo Nacional de Bellas Artes (through 11/7), Galería Metropolitana (through 11/15), Galería Gabriela Mistral (until 11/12), Museo de la Solidaridad Salvador Allende (through 11/15), Museo de Arte Contemporáneo (through 11/7), Museo de la Memoria y los Derechos Humanos (through 11/01) and the book stores of the chain Ulysses (through 11/15). DISLOCACION came about an invitation by the Swiss Embassy in Chile to put together an exhibit concept commemorating the Bicentennial of the Chilean Independence during the year 2010. The term "dislocation" thereby refers to the action and effect of separating a member from its articulating core. The term indicates a discontinuity within an ongoing process, a displacement and a disarticulation. The subject matter of DISLOCACION is framed within globalization, its causes and effects, showing a kind of "reproduced nomadism", which is implied in several concrete ways, especially in video-essays by Ursula Biemann, Sylvie Boisseau / Frank Westermeyer and Lotty Rosenfeld. Also, there are other aesthetic ventures by Thomas Hirschhorn, Alfredo Jaar, Juan Castillo and Voluspa Jarpa all of which deal with how people live out of phase in terms of economics, history or culture. As an artist and scholar used to engage in collaboration with theorists and other visual artists, DISLOCACION gave me an opportunity both as a curator and artist to conduct a research on the structure of globalization, the significance of migration, territorial displacement and all kinds of social, political and cultural differences. The aim is not to treat migration from a historical perspective. Rather, the project focuses around current problems; the articulation of the structures and mechanisms within a given context, where often neither reasons nor symptoms of this economic shift are really analyzed and yet, we are constantly influenced by them. Chilean and European artists and theorists who explored these themes during the last twenty years were invited to the DISLOCACION exhibit. The research project then became a sort of essay-exhibit with the purpose of showing the geopolitical realities related to our local and global history. DISLOCACION developed a kind of cartography that refers to the disarticulated issues of industrialized countries and younger ones from a specific perspective, in this case, involving Chilean and European contemporary art. Taking "Poetics and Politics" by Catherine David (Documenta X Kassel, 1997) as a starting point in reconsidering the political dimension of contemporary art, now more than ever, contemporary aesthetic practices need to reclaim the political as a common space. This common space is never fixed, but rather mobile as well as homogenization-and-closure resistant: contemporary art practices make it visible and comprehensive despite its complexity. Considering the previous, DISLOCACION seen as a process, confronts our local and global reality. Regarding prior curatorial statements dealing with questions such as what and how to exhibit, the question today is: What can be produced by DISLOCACION? What sort of product or narrative can be generated in Chile, where territorial displacement, delocalization, disarticulation, exile and migration are both historical and current themes? The multiple answers provided by the participating artists give importance to this disarticulated subject and to the reasons for its disarticulation. The qualities of this exhibit reach beyond the art world and focus on issues manifest within the framework of globalization. DISLOCACION does take many forms. The artists' proposals in the different venues in Santiago will also force the visitors to "displace" themselves from one place to another. Also, the exhibit will be taken over to Kunstmuseum Bern (Switzerland), in the spring of 2011 and it will settle there within a new context. DISLOCACION will be exhibited in Santiago, Chile, in the following art venues: Museo Nacional de Bellas Artes (through 11/7), Galería Metropolitana (through 11/15), Galería Gabriela Mistral (until 11/12), Museo de la Solidaridad Salvador Allende (through 11/15), Museo de Arte Contemporáneo (through 11/7), Museo de la Memoria y los Derechos Humanos (through 11/01) and the book stores of the chain Ulysses (through 11/15). Participating artists: Ursula Biemann; Sylvie Boisseau & Frank Westermeyer; Juan Castillo; 000 Estudio (Javier Rioseco); Thomas Hirschhorn; Alfredo Jaar; Voluspa Jarpa; Josep-Maria Martin; Mario Navarro; Bernardo Oyarzun; RELAX (Chiarenza & Hauser & co); Lotty Rosenfeld; Ingrid Wildi Merino; Camilo Yañez. QUIEN ES LOTTY ROSENFELD? "La práctica artística de Lotty Rosenfeld, desde sus inicios en 1979 en el grupo CADA, propone una reflexión sobre el poder y sus códigos, sobre los problemas descubiertos entre las instituciones y la sociedad civil. Sus intervenciones se anclan en la calle, el entorno social y el campo demarcado por las rutinas de la sociedad. Para ello ha utilizado como modelo analógico un signo de tránsito el cual modifica materialmente, generando como resultado un signo +, la primera impuesta por un código de reglamentación social y la segunda propuesta por el arte a modo de interrogación crítica." CADA (COLECTIVO ACCIONES DE ARTE)El Colectivo de Acciones de Arte (CADA) es un grupo de artistas activistas chilenos que utilizaron el performance o las acciones para retar la dictadura de Pinochet en Chile. Este grupo fue uno de los contribuidores mayores a la "Escena de Avanzada", y en su trabajo incorporan estrategias teatrales y de performance como elementos esenciales de sus 'acciones de arte', mientras cuestionan las prácticas y las instituciones políticas, concibiendo el arte como una práctica social necesaria y erradicando la distancia tradicional entre el artista y el espectador. Comprometidos con la fundación de una práctica abierta y espontánea de 'espectacularización', sus 'intervenciones cotidianas' pretenden interrumpir y alterar las rutinas normalizadas de la vida diaria del ciudadano urbano, a través de una subversión semiótica que descontextualiza y reestructura semánticamente los comportamientos urbanos, las localizaciones y los símbolos. Contacto : lottyrosenfeld@gmail.com
VIDEOS IN HIDVL: http://hemisphericinstitute.org/artistprofiles/index.php?lang=Esp&Artist=cada&Menu=HIDVL BUCKMINSTER FULLER In Critical Path, Fuller declares that humanity is at a crucial juncture in its evolution in which we can, within a lifetime, either have a perfect world where all of us have everything we need or destroy the planet and ourselves. Sounds like typical millennial/New Age thinking, except that Fuller has a concrete plan to bring about Utopia. His hope rests completely with technology and science. Moreover, he states that at the time this book was published (1981), all the necessary technology already existed; it just wasn't being used properly. "Neither the great political and financial power structures of the world, nor the specialization-blinded professionals, nor the population in general realize that sum-totally, the omni-engineering-integratable, invisible revolution in the metallurgical, chemical, and electronic arts now makes it possible to do so much more with ever fewer pounds and volumes of material, ergs of energy, and seconds of time per given technological function that it is now highly feasible to take care of everybody on Earth at a 'higher standard of living than any have ever known.' It no longer has to be you or me. Selfishness is unnecessary and henceforth unrationalizable as mandated by survival. War is obsolete . . . It is a matter of converting the high technology from weaponry to livingry. The essence of livingry is human life advantaging and environmental controlling. With the highest aeronautical and engineering facilities of the world redirected from weaponry to livingry production, all humanity would have the option of becoming enduringly successful." http://old.disinfo.com/archive/pages/review/id1090/pg1/ CHECK OUT DISINFORMATION´S SECTION ON ACTIVISM http://old.disinfo.com/archive/index.html ...totally interesting relevant theatrical art related info listing of contemporary art exhibits http://www.kunstaspekte.de/index.php BORDER CROSSING audio recording of us police interrogating people at the us-mexico border http://www.carbonfarm.us/border.html | ||||||||
Saturday, September 4, 2010
Hostels & Dance & Theatre resources in Santiago
HOSTELS
Av. Vicuña Mackenna 92A
Providencia, Santiago, Chile
Teléfonos: +56·2·635 25 36
Fax: +56·2·222 05 33
Email: reservas@hostalprovidencia.com
Skype: hostalprovidencia
Providencia, Santiago, Chile
Teléfonos: +56·2·635 25 36
Fax: +56·2·222 05 33
Email: reservas@hostalprovidencia.com
Skype: hostalprovidencia
~$13-16/noche = $91-112/semana
Terra Extremus
Vicuna Mackenna 38, Santiago, Chile
56-2-6350437
info@terraextremus.com
DANCE STUDIOS
Anandamapu Centrocultural (~$4,000 CPL/clase)
http://anandamapu.cl/'
TALLERES para adolescentes y adultos
- DANZA ÁRABE con Souling Labbe - Miércoles entre las 18:00 y 19:30.
- Música Latinoamericana de raíz Floclórica con Fernanda Mosqueda – Viernes entre las 17:00 y 19:00.
- YOGA HATHA con Juan Pablo Corro – Martes, Miércoles y Viernes, de 8:30 a 10:00 – Reserva con un día minimo de antelación por Mail o Teléfono.
- YOGA ADULTOS (al mismo tiempo de yoga niños) con Juan Pablo Corro - Sábados de 11:30 a 12:45
- Y O G A mil con Juan Pablo Corro – Lunes a Viernes, de 19:00 a 20:15
- PILATES STRETCHING con Daniela Guzmán – Martes y Jueves, de 20:30 a 22:00
- CAPOEIRA con Zeca Do Carmo – Lunes y Miércoles, de 20:30 a 22:00
- BREAKDANCE con B-boy Pita – Martes y Jueves, de 17:30 a 19:00
- DANZA CONTEMPORÁNEA con Yeimy Navarro – Lunes, de 18:30 a 20:00
- DANZA AFRO con Celeste Torres – Martes y Jueves, de 20:30 a 22:00
- TANGO con Cristian Henríquez – Sábado, de 20:00 a 22:00
Yuukti Yoga
Sala Yuukti :: Alameda #2126 :: Metro República
Contacto :: yuuktiyoga@gmail.com
Fonos :: +56992794501 :: +56991735531
Wednesday, September 1, 2010
Shamanism + Cyberspace
By Mina Cheon
notes
"Magic is dispelled at the moment it is questioned, and shamanism stops working at the moment science puts it to the test. Since the Age of Reason, Western science (compounded by Christian laws) has condemned shamanism and all similar magical endeavors such as witchcraft, sorcery and seance... It almost goes without saying that Western religion has viewed shamanic magic as mere supersition."
"This book starts from the insight that the very existence of shamans today challenges the overarching First versus Third World order, or West versus East binary worldview staged by Western imperialism... The shaman is the infectious parasite... in taking shamans' magic seriously, [this book] exposes the concealed violence of science, media and technology to critique. It names them as the imperial forces of our time."
"We can never know for sure that a shaman's magic is true, nor can we prove that it is false. This is the power of shamanism. Its indeterminacy challenges truth-value systems and exposes how people shape truths to address specific needs in certain times and places. .."
"DEEMING ON THING AS ORIGINAL VERSUS ANOTHER, REFERENCING THE HISTORIC PAST FOR THE SAKE OF THE FUTURE, AND USING OTHER CULTURES AS BARTERS OF AUTHENTICITY TO DEFINE ITSELF."
"... while today's cyberculture can challenge the modernist paradigm, at the same time, it more often reifies and extends its imperial visions." is this in my effort to write down these words? i only mean to remember them
"The shaman is a sheman as well as animal, spirit, healer, foreseer, receiver, and deliverer - precisely the things already condemned, troubling and too broad for scientific explanation. The shaman is also a man-animal-machine, the medium that connects this world and the next, and thus is also beyond philosophy."
Introduction to Theatre
INTRODUCING THEATRE, eighth edition, Joy H. Reilly & M. Scott Phillips
I think it will be good to finally ground my head in the conventional ways of thinking through theatre as an artform. This book is especially introductory, and therefore especially useful to my mind for systemic/organizational purposes!"No other art form can so completely harness the power of the human mind, arouse such passion, or create such vivid living pictures."
Performances and Theatre especially do this - they create vivid, living pictures, fleeting in each moment. They are pictures nonetheless, images set to life. In this I might approach Ionesco, for it is the images which seem and are seen, the power in such images. Relate to your life of painting, to the act of figures together. A new relevance for painting from life is found for me, in this quote.
"The people who create the marvelous illusions to which Shakespeare refers to are the practitioners of the most collaborative art in the history of human endeavor."
Quite an expression and claim, but one that I nonetheless like. http://www.peelspawn.info/blog, http://www.peelspawn.info/collaboration
THE ILLUSION OF A VIRTUAL REALITY - not a virtual reality proper, rather, an illusion of such
"If we agree to make ourselves receptive to the artist's work, we will find that it does three things: it magnifies and intensifies sensation, while clarifying and then interpreting experience. The world of the artist is a heightened world, where feelings and sensations are magnifies far beyond what they are in ordinary life. Art clarifies because it allows us to focus on selected aspects of our experience in a detached manner. It is interpretive because, through the very act of selection and arrangement, the artist expresses a definite point of view.
Not only is art an act of self-expression, it is also communicative; it speaks both to the individual and to the community, either directly or indirectly. But in the indirect arts of painting, sculpture, architecture, and literature the artists does not come into contact directly with those experiencing the work of art. The direct arts are the performing arts-music, dance, drama, and performance art- and the art work is the performance by the artist for an audience."
SEE Wagners "Total Work" the theory of ultimate art as a theatrical combination of all arts, The Mayan Dreamspell affirmation that "LIFE IS ART" - a future projection of how we can save this world
"The spectacle of life fascinates. Caught in the turmoil of affairs we do not see it clearly, for our eyes are ficed on other things, our business, our wealth, our occupations, our reputation. These tihngs give us a bias and a preoccupation which prevent our seeing the spectacle we make of ourselves. But in moments of leisure we flock to the theatre or read stories of love, passion, intrigue and adventure. These, and not our experience, tell us what life really is, for they reansform us from pariticpants in action to spectators of it.. We hav th happiness of deatchment.... We see life without living it.... Art, not business or work or morals or religion or science or philanthropy, reveals what life is and reveals it to be viewed in freedom." - Frederick J.E. Woodbridge, The Son of Appollo
"By its very nature, dance is more abstract, farther removed from our experience in real life than drama is. This essential difference between dance and drama lies in the manner of the performers and not in the nature of the thing performed."
I do not know that I can agree. While dancing is usually always located in "sanctioned" places and sites, designated for such activity, the metaphor of movement and its potential for translation is not abstract... but simply, metaphorical, I would say. Though conventional modes of theatre, presenting a situation of genre, people, families, DAILY LIFE, does seem to be more direct, these forms and conventions can be just as abstract as any dance occuring on the stage.
PERFORMANCE TIME
the time of a performance
the performance of a time
the performance of time
the timing in performance
these endless considerations
which make so much
from the Glass Menegerie
"There is the social background of the play (music).
The play is memory
Being a memory play, it is dimly lighted, it is sentimental, it is not realistic.
In memory everything seems to happen to music. That explains the fiddle in the wings"
more to come, as i digest it all
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