Hito Steyerl-Venice Biennale
I am thinking of something like this for my room factory. Layers of fragments and copies.
Hito Steyerl-Venice Biennale
I am thinking of something like this for my room factory. Layers of fragments and copies.
I am starting drawing the room now. Thanks to the lecture of Charles as well, I would like to insert some meta-fiction into this assemblage world.
I am writing here some notes from my notebook:
-the concept of copying is very 19th century
-the technique of appropriation is nothing special-leave the fetish out
-what are you producing?
-how is your project different from collage city by colin Rowe?
-use of the word: design research- trying to be original in a standardize set of options
-what if the whole room was the product?
-make something you can say it is the embodiment of your thesis
– make a single room in which you can see the multiple rooms
-National museum of Australia-Mash up facade
-Robert Venturi complexity and contradiction
-3d building made of 2d images
-if it is original or authentic is irrelevant
-cat’s suggestion of film: the invention of lie
– what’s the final product? produce the room and let the people engage with the space
-use photography as a medium
-issue of time, how do you deal with the collective and time scale
-References from Doreen Bernath:
It has been very productive for me. New stuff from tomorrow!
- There is no original work in this exhibition work board- TO PUT ON
-Bob bio box on the table next to images + props-DONE
-paintings up the wall-DONE
-patterns book on the table-DONE
-model mirror/drawings on the table-DONE – HALF BROKEN-MAKE FRAME AROUND IT
-3 video screens on table-TO SET UP
-stamps on the table-DONE
-magazine on the table + portraits of people TO PRINT
– All references on foamboard underneath paintings-DONE
I am writing again the presentation, I am not sure If I will present on screen or just talking showing the products on the table. I will try to print a copy of the white book as well.
-2 new drawings missing for now.
Point #1. I am panicking.
Point #2. This project is confusing me
Point #3. I am planning an amazing jury for the 28th
So at the moment I wish to show you how the jury will look like:
I am thinking to present the work as an exhibition space. I will have first at all correspondent pictures of Bob life with next to it its props. Then there will be picture of his props and my props. There will be the red velvet box and baby jesus. There will be the hands . All this will have the same wooden base/pedestal. Then we will have the drawings with the originals underneath. The magazine, with the pictures of the interviewers underneath. The ommx series, with its original. Then the model and before that, apologies I forgot in 3 small screens the videos of making.
I would very much like to have 2 new drawings. One was supposed to be done tons of years ago, so shame on me. The other one looks like this:
This second image which I am photoshopping is interesting to explain my thesis. I would like to really have the statement which I wrote in the last blog update and taking everyone through the project. discussing about stuff, and not bombarding with statements/drawings which are shown on the table/models which start walking etc… you got the point. I would like to show almost everything in the room, and people can go and see by themselves, or ask me if they have any questions.
I have never been able to draw. Everyone though this was going to be an issue if I wanted to study architecture. I never understood why. This is because architecture is based on what is that you produce, how you create, and how you portray yourself signing that project. In the architectural environment, everyone is asking for something new, something they have never seen before. Architecture is dictated by originality and by authorship.
I believe that the world is full of architecture, more or less interesting and I do not wish to add more to it. Instead, I advocate for a reconstruction of architectural fragments which urges to provoke in disagreement or in an applause. I propose therefore, a modus operandi based on appropriation as a mean of architectural production and form-making. An orgy of construction. Where architecture becomes an action.
Originality check is a chapter in my white book where I extrapolate texts from different references making it my own statement. Still working in process.
Revisiting Octavio Paz- Appearance Stripped Bare
A project without works, where the project becomes a part of something bigger. It consists of ready-mades, gestures, conversations, fragments. The work of Duchamp takes my attention not because it is the best, but because it is unique, authentic. Since the beginning Duchamp is a painter of ideas, as his example, the architect must not give in to the dangers of conceiving architecture as a purely technical discipline. Duchamp loves poetry, but not the content, he is interested by the titles. His fascination for the single line before the poem is equivalent to my fascination for any fragments of drawings, initial details that do not make you understand all the context but they give only a hint. For Duchamp all arts obey to a common law: the meta-irony.
Duchamp uses the objects is a metaphor, as a representation. His careful reflection on the object is also a meditation on himself. In a sense, each of his paintings is a symbolic self-portrait. Each project is a self portrait. The project becomes a cartography of different elements, which involves a plurality of meanings.
The ready-mades are anonymous objects that through the gesture of the artist of choosing them, transform them into a work of art. In the action of choosing your fragments there is contradiction: as it destroy the significance of their previous life.
The artist is not a creator, its work are not creations but actions. These actions are made in order for you to have a reactions, exactly as the readymades. These can become drawings of contemplation, of study, irritation, revulsion. The meta irony of Duchamp is incredibly current in this project. The injection of humor helps to preserve the anonymity of the fragment, of the drawing itself and even to emphasize more a false neutrality. The readymade is a double edged sword if it turns into a work of art, it makes useless the whole gesture of desecration, if it preserves its neutrality, it transforms the gesture in an active action.
Because at the end of his act is not so much an artistic operation as a philosophical game or better dialectic is a denial that through the humor becomes a statement. When a ready made works is because of its selection. The problem is the act to choose the right fragment. It is a act of liberation towards the limitation of this discipline.
The deity in whose honor, Duchamp raised his work is something invisible and perhaps non-existent: the idea. In the modern world there are not ideas, but criticism. In the same way in modern architecture does not need new ideas, it need to reformulate those with criticism. Mallarmé used poetry as a multiplicity of readings “coup de dés”, which is not just ambiguous but it represent a open form that in its own movement, has its own rhythm of contraction and espansion. It is in continuous change. There is not a final interpretation of it.
Duchamp large glass is un unfinished work in perpetual completion. You cannot see the work without seeing yourself through the transparent glass. It is a work which is complete through you. It Is a work which is asking for significance.
One of the most disturbing quote of Duchamp is the viewer makes the painting. He is denying the work itself to proclaim a naïve nihilism. In his text the creative process he is declaring that the artist is never conscious of what he is going to do. There is a massive difference between what the artist says and what the work is presenting instead.
Although I am having a bit of confusion in my head, I am layering down all the drawings I have, and I am sorting out how the jury will look like. I need to go to school tomorrow to photograph some of my old models and perhaps repair a couple of props. I will make a speech as well. As simple as possible.
Main questions which I think are the fundamental:
– Do I have authorship? Am I against authorship?
-There is so much architectural production, I am appropriating what I find, why would you create if it has already been created?
-Although, the way I appropriate things make as a result something new.
-How does culture impose a form of production?
This comes back to the preview notes when they asked me: what is patterns for me? Perhaps the “making of” is the architecture which I am proposing.
Anyhow, as I am writing it, I realize it is not clear enough. So updates soon!
I am organizing all the work right now, I am making folders, printing every single drawing and constructing a discourse, which right now will be as simple as possible, open to all the sub-categories later on.
I found three different presentations of 100 pages and more, so I am first assembling it all together to understand the whole project.
I have been reading the book which Antoine brought to his lecture, Godard le dos au musée, in which with my “absolutely perfect french” I extrapolated various points useful for me. As well, Van Gogh on Demand: China and the Readymade, had few lines which I want to use in my thesis. And finally, the the immense and grandiose Duchamp, in his essays and Appearance Stripped Bare, where I discovered a whole concept of objects, ideas, sexuality, but moreover what he calls the META-IRONY. Which I do believe my project is based as well.
Obviously in order to go further with my project, I needed some references, so these phrases remained in my mind, and truly since the beginning I have been constructing my thesis through quotes, writings, essays, thinkings of my references, of others, and then, adding some of my writing here and there. Here few lines, but I will construct this text properly for presentation.
CAPITAL LETTERS= MY WRITING
“The artist’s freedom has always been “individual”, but true freedom can only be collective” (lina bo bardi) WHERE IN MY CASE, MY ARCHITECT’S FREEDOM TO CREATE MY OWN PROJECT CAN BE PURSUIT JUST THROUGH THE USE OF OTHER PEOPLE’S WORK, AND VICEVERSA, THE PROJECT BECOMES ” a concert of all individual voices” (lina bo bardi).
“I have no other hands but yours” (duchamp).
IT STARTS FROM A MANNER TO CREATE IMAGES FROM PAINTINGS, “The use of the icons of art , allows the new work by becoming part of a new cycle, un Oeuvre vivante”(Godard). AND THIS CONCEPT OF OEUVRE VIVANTE IS WHAT I MEAN BY A CYCLE WHICH NEVER END FOR THE CREATION THROUGH APPROPRIATING. IN THIS WAY IT IS POSSIBLE TO ACHIEVE IN THE PROJECT
“the need to create a cultural machine”(Godard) AND “the fact of becoming creator of the work and the work itself” IS EXPLAINING HOW EVERY DRAWING I MADE, CAN BE CALLED SELF PORTRAIT.
I will start tonight to see all the available material which I have at the moment, re-organize it, and write my thesis and assemble everything into the white book. I will also think how to present for the jury on the 28th.
At the moment I have been reading few books which inspired me and helped me develop further my project, and I have been to few places in ROme which take part of the exhibition “BAroque in ROmE”, obviously an amazing opportunity to steal new stuff.
Here some examples: Palazzo chigi ariccia
I will properly start working from tomorrow, so updates soon!
As I just finished my esssay….some good thoughts came to me while writing:
The paratopia is described by Price when saying: “in the ongoing process as a provider of opportunities for experience and change, not as a master builder of immutable monumental structures”. BLABLABLABLA….
While he tried to disperse this authority in the collaborative team, the project was still indeed extremely identifiable within Price’s persona, in the same exact way Alberti was identified within the role of architect.
As Roland Barthes argues, authorship as an ideology is fetishized individualism. The fun palace, being a paratopia, create a more dispersed notion of the work to be focused on the interpretation and the “singularity of intention”. BLABLABLABLA….
This is why, it is much easier to speak about heroic architecture rather than small creative changes in the way of thinking or acting. This is why there is a strong individualist view on architectural production. It is all about the author, what is the architect’s design, its role and its position. Architectural criticism tends to frame architecture as an almost autobiographical sequence of creative projects and works to be identified with a persona, or – as it has occurred lately – with a peculiar style.
When the author is considered central, the architecture is regarded as a recording, as a representation or as a depiction of the architect himself. However, when the building is presented, the meaning belongs to its reader as the matter of fact it is the reader and not the author to determine the meaning of the building. Would the Fun Palace, in the same way, been read by its users and would it have become an actual neutral space for architectural performativity? It would have not been specifically dictated by the architect’s authorial prescriptions, but through the impersonal actions of the structure perhaps. With myriad of understanding and not a direct meaning. Yet, any attempt to establish a singular meaning diminishes the project and impoverishes its significance. Therefore, the paratopia through the words of Stanley Mathews: “The greatness is in the fact of creating a readily ambiguity that would support a multiplicity of readings”. BLABLABLABLA….
I can definitely see a portrait of many in here!
I think it is time to drive this project to something more contemporary. I am getting excited about the triptych video. I am having few references ready to roll for tomorrow!
hehehe let’s start with something classic though!
NEED TO PHOTOGRAPH THE MODELS BEFORE THE END OF THE TERM AND ADD IT ON THE WHITE BOOK!
Following the discussion…Anselm Kiefer
Time to get back to work guys. c’mon.
Do not present everything at the same time. or choose what to deliver to the next presentation
I like the idea of working on a triptych video (obviously)
3 videos aligned with each others, replicating the Duchamp picture of him working in this studio, but having it 3dimensional and showing the procedures of the method of reproduction.
The three triptych video can be:
2.the method/assembling line
2.the people/the many
into the making of the presentation, highlight:
Correspondence Marcel duchamp to Helen freeman: “If from a chronological point of view I am the same person who painted these paintings, the linear passage of time is not enough to justify the sameness of MD of 1912 with MD of 1952. In the contrary, I think there is a constant dissociation , if this dissociation is not prevented by a shallow thinking and acceptance of the principle of identity”
Not sure if everyone can see it at the moment.
BUt surely EVERYONE SHOULD WATCH THIS
and THIS is even better than the first one!
triptych on the way
model plaster TO DO
mirror lasercut TO DO
Presentation on the way
ahhhhh there he is! this Leandro Erlich is my guy!
I am friend on facebook with this JErry Saltz, an american art critic, who most of the time publish super interesting stuff..
Here for you!
1. A Proposed Museum moratorium: For the next 48 months no wall label of a work of art made after 1990 shall be longer than three-inches. Including name, title, date, medium, dimensions.
2. In my review of The New Museum’s Triennial “Surround Audience” (do not miss the 17-minute Josh Kline Obama video) I wrote about how museum wall labels have gotten preposterously long, obscurantist, peppered with hyperbole. (Not to mention obsessive name-checking of correct artists from 1960s and 1970s.)
3. I believe that the space between a wall label and a work of art can be super-charged, and is an highly active interstice of art that can either clarify or vivify a work of art.
Several very quick examples being:
A. Duchamp’s picture of a mustached Mona Lisa: The title is L.H.O.O.Q.
B. Rauschenberg’s black-smudged piece of paper: “Erased de Kooning.”
C. (A favorite of mine): Jasper Johns’ Ballantine Ale cans: “Painted Bronze.”
D. Sol Le Witt’s titles: e.g Three-inch diagonal lines, none touching. (Etc.)
E. Chris Burden’s are some of the best short written pieces of literature of the 1970s.
(**PLEASE add your favorite clarifying or vivifying labels below.)
4. But wall labels are now fountains of nonsense, jargon, obfuscation, excuse making, and good-little-humanist card playing.
Wall labels are fine. Great even.
Hence again: A Proposed Museum moratorium: For the next 48 months no wall label of a work of art made after 1990 shall be longer than three-inches. Including name, title, date, medium, dimensions.
I just finished the views, I am assembling the last one right now.
I am ashamed of myself of how i forgot one of the greatest artist ever. EVER. and also one of my favourite, and maybe unconsciously, I just did not want to tell myself I am just copying Pistoletto..
Please forgive me. I am your biggest fan. EVER. Pistoletto’s STATEMENT here!
On the way… one almost finished.
Today I assembled the frames together, just 2 are left to do. First thing tomorrow morning.
I am planning to finish colouring in 2 or 3 drawings and then from tomorrow start to plan the model with the perspex/ mirror drawing above.
How I could have forgotten… the marcels tonight!
It is a very pleasurable day today in studio with Cat, felix and sasha.
New reference from Sasha…Buontalenti grotta in florence
Update with drawing
Interesting is what happened just few minutes ago, I was in the making of the magazine, binding it etc and I left the copies on the pc desk. When I came back, they were gone and people were reading it!
One guy even asked me for a signature, which actually made me think, that this “authorship” is still alive… need to kill it quickly.
Anyhow, list of things to do:
-canvas on frame, one frame left to do and then assembling MONDAY MORNING
-i guess print other 10 copies of the magazine. need a sponsor.
-Finish drawings factory/views and add colours
-add the views in the triptych and colours
-model perspex/mirror and model 3d spaces
Quick update, I am recording as well while doing it.
I am very happy I got time today for studio, as the project is coming up. I can see it slowly…behind some walls.
I have a good feeling! and there was lighhhhht.
Nixon interview place
Lina Bo Bardi exhibition space
Richard Estes photographs
What is after the Port-modern studio? Post studio-Portrait-performance-post mortem
What can we learn from a studio? The design of a studio is a portrait of the artist itself and of the world outside, and how she/he perceive it. The experience of perceiving it and translating into a project is fabricated by the studio. Onky if we create and preserve the place for thoughts, expression of productive failures, society can flourish. Only then, we will have skilled architects/artists to continue the studio method of critical and human engagement.
The studio is more than a physical place, it is a mental place, it is a necessity of being. Does creative potential originate in the studio or only take form there?
The artist’s studio remains a place where artists go or long return, to obtain something, as a way of maintaingin a process, participating in a discourse, and not losing that identity of being the artist. The intimate portrait of words and images which allows us to be part of this place.
It is an alchemic laboratory. Studio’s status is a n unique place of production. The post modern studio is analogous to bricolage, ad hoc and fractured, no longer the sole site of artistic enterprise, this shape shifting studio affirms these recognitions and help resist the objectification of multiple experiences into narrative systems which through patterns of power/knowledge organize different hierarchy.
The studio is our stage of performance and of fabrication. Those are the products of my consciousness of self as an atist. In the way the studio is constructed, there is an embodiment from the artist to this place.
There are few common features, tables, chairs, shelves, storage.
Leonardo da vinci “the life of the painter in the studio should be solitary, if you are alone, you belong entirely to yourself”. WRONG. My theory is baed that actually you are belonging to everyone else, and everyone else belong to you. Esistencialism?
Daniel buren”Q the function of the studio”: Q”it is in the studio that the work is closest to its reality, the work is totally foreign to the world into which is welcomed, for example museums, gallery collection.” WRONG. The work is closest to its reality when outside, streets, walls etc, which can include also museums, gallery and collection, as far that it is seen by everyone.!
Lesson of the readymade: one can make anything art by designating it as such, or better by recontextualizing it, that is by putting it into the right sort of room-those studios are now obligatory.
Contact and interchange in the studio. The studio can be empty. Can be a place to think, a refuge. There is nothing there. It is not to be expected that is a display, or a evidence of a process. It depends on the work, on the performance.
In my studio though, there are three rituals:
Action of copying/appropriation-the fabrication-the performance/showing/arena in which to act
I am interested in purpose built studio, where usually artists create the studio effortlessltly and architects tend to re create it with design. This is why I am setting up a manual with the machinery for the studio, which then can be applied to any studio. My aim is not to design but to create and subdivide a space for these precise purposes which starts from the appropriation of something into its realization and new life into the world.
David smith-factory studio rolling hills of new York state at Bolton landing it is a machine in the garden
Pastoral and technological dialectic.
The plan I am making is the mind and the space being photomechanically mapped, in which artistic manifestation navigate in the space in a line of production: from original to authentic.
Pollock: “I hardly stretched canvas to the hard wall. I need the resistance of a hard surface, on the floor I feel more at ease. I feel nearer to the paiting , since this way I can walk around it, work from side to side, and literally be in the paiting. AMEN
The technique depends from each one. This is my plan which is defined on my way of working. The work is created almost spontaneously in the studio, which is the locus of authenticity. A sanctum where expression and action formed a single inviolate gesture, but we find instead the stage set and props,
One side is clearing(the originals) one side is gathering. The twentieth century is hybrid transitory and fragmentary, at the same time we have: history-modern, individual-collective, repetition-uniqueness.
Being nothing/nothingness and making nothing/nothingness is my goal. It is a long process.-kimsooja
The activity in the studio can be seen as essentially private but somehow always performative. It origins in the variousy constituted workshops of the middle age, renaiassance, baroque era, all copiously peopled,only supports that observation. Jacques Lethève: “even if they almost always needed to refer to models, in carrying out their wrks, yet in the last resort they used them in order to transform them. They might turn a poor five young girl into a queen of the east…:”the studio is a place of metamorphosis, illusion.
The word art means etymologically simply to make. What is making? Making is choosing. The figure of my architect has to have the ability to transform a though into a thing, into a way of living.
Francis bacon “caos for me breeds images” The studio as a spectacle. The studio does not have to become a sediment of materials/images but a continuous exchange. It is part of the process. A shifting of images.
The larger space dedicated to the act. Work does not originate in the studio. The work originate from the outside and it is fabricated in the studio. Here the function of a factory. It is a stationary place where objects are produced. A work produced in the studio therefore is a object subject to infinite manipulation.
The art of yesterday and today is not marked by the studio as an essential, often unique place of production. It proceeds from it. All my work proceeds from its extinction.
Notes which I need to put in the right place for presentation. I am very much into the design. I will have at the end of the week 3 views to this artist’s studio. Some features here:
Into the design of the studio. Here a possible evolution of the space perhaps=?
I am still working on this large drawing, for tomorrow I hope to have most of its parts done. At the same time, I am writing some pieces which are the most important for me from Duchamp in context’s book.
Today I will print and bind the magazine as well!
Just in the back of my mind, I want to start looking at materials to make (re-make) the large glass of duchamp with my drawings…..
Here it is a very nice place where they work with engraving.. and I am looking at glass blowing as well.
Few things to be addressed first:
-print paintings on canvas
-print magazine properly and bind it together
-add the moving drawing to the white book
-keep working on the large world map of my factory
Looking at Duchamp triptych I can see myself, the props and the studio as well.
The factory is a conversion place. I am not thinking too much today. I will keep drawing and see afterwards what it is happening!
CALMA E GESSO!
I am updating the map with few other places as this one: http://www.locateeastsussex.org.uk/case-pureprint.aspx
where the AA publishing send the books/booklets to actually print.
seems vague now, but it has a sense. Update later tonight.
I can see as the end of this second phase which I will call: SELF-PORTRAIT OF MANY.
Here the pleasure to announce you some work in progress drawings from Delacroix and Giuseppe Pellizza
And here the Frankenhausen battle which is the last drawing I am working on:
I am elaborating my thesis and finishing the big drawing today.
The interviews are all assembled and I am checking spelling/names/layout. I want to print it for wednesday so we can have a look at it properly.
From the interview with John and Ann-Sofi from DIP4 , it came very natural the continuation of my thesis, when I said: “These drawings are self portraits really, but they are drawings which are not mine and they present other people, actions, they are the base of my storyboard. So I am very interested in the paradox of this. ”
The self-portrait is constructed by others. This is my next step.
John told me as well that in his view having the paper on top of the canvas is useless, there is no reason for it, so to think about this and work on it. It is indeed a good point, as I called them paitings, but they are not. And if I work on the way/on the technique which I present those more carefully, I think my thesis will be stronger.
SO why do I think of those as paintings and how these are assembled together not looking like a last-minute decision. Not a decision taken at the last moment but thought through. It could be a starting point for the actual factory, the assemblage of image on canvas for instance…..or maybe not. let’s see.
Apologies nothing visual yet. Will come soon!
Eugenie and some others answered me…so… here the magazine!
Need to be revised/changed still!
So I am subscribed to this blog which is very good and I want to share it with you: here!
Tomorrow, instead I really want to go here!:
Dennis Severs’ House at 18 Folgate Street, Spitalfields is more than just a time capsule. It is both a breathtaking and an intimate portrait of the lives of a family of Huguenot silk-weavers from 1724 to the dawn of the 20th Century. As you follow their fortunes through the generations, the sights, smells and sounds of the house take you into their lives. It was Dennis Severs’ intention that as you enter his house it is as if you have passed through the surface of a painting, exploring with your senses and imagination a meticulously crafted 18th Century world.
Open from 12 – 4pm!
Some good magazine advertising as well.
Enough of makign sketches trying to built/not built the thing. I am starting flat and it will develop from there. I am having layers and difference of levels. it will become 3d. it will become a machine. a line of production.
oh! and btw, this french artist is great. BENEDETTO BUFALINO
Apologies for my absence today. I just had a loooong interview with a lovely mother who was looking for a babysitter and I kindly proposed, but now she ask me a CRB check and I have been busy pursuing her to do it for me if she wants one.. ahhh. well.
Anyway, here I am planning the model/3d drawing/machine anyway. my mind is too busy with stuff so I will show you later the outcome for now a nice entry:
Dover Books specialises in books full of copyright-free images, which you can use for any project, without fear of being sued. I like the Magma art book shop a few doors down, but sometimes it’s so cool, hip and fly it hurts. Dover is an unassuming, old-fashioned bookshop – a browser’s paradise. Here!
and some sketches of the factory/ line of production.
Very interesting and clear image of what I am going to produce for the next weeks.
First at all finish the magazine and conclude the first term. These drawings are in the back of my mind, but will use them in 3d not in 2d.
Then, IMPORTANT POINTS:
1. I am not interested in the narrative. This BIBLE(YES, I will call it like this in honour of the origin of baby jesus, but this is another story….) should NOT BE just a story but a FACTORY.
2. This project is a LINE OF PRODUCTION from originality to the death of the author
3. Instead of drawing and representing these moments, ex the SCALA Archives, (which Thanks to some connections this morning I am going to visit in Florence during the Easter break eh eh eh) and the AA Archives in the US air force.. I am designing the line of production itself. and in the moment I am designing the line of production, I am designing the machine, and the products
4. I am thinking to produce for each “space” a product. So the factory is creating not just the same product but different products depending on the space, so the first steps are the 7 paintings, then the magazine is another product etc. Grayson Perry’s program “Who are you” did exactly the same: depending on the identity of the person, he created a different product, from a carpet, to a vase, to a jewel,….Here!
5. Reference of what I am going to work on is the Large Glass by Duchamp Here!
No time to talk, I am going to create something. My aim is to detach myself from the 2d and get to the 3d as soon as possible!
I might have a site.
Just been inspired by OMMX, who will have a lecture on the 23rd of february. CANNOT MISS IT.
I can see in their drawings, fragments of spaces, will have these as reference as well.
I sort it out most of the interviews, checking the grammar/changing/adding some parts.
Today I will meet Carlos and I will have a quick interview and on Thursday with John Palmesino and Ann-Sofi.
I am missing quite few interviews from:
-Mond- not sure when
-Manon- supposed to be today
-Eugenie -supposed to be next week
-Sam -supposed to be on wednesday evening
Yesterday I finished all the previous drawings/updated manifesto and added pieces to the White book.
Today I will start with the places of fabrication. THE FACTORY ITSELF. and yes, I am terrified.
My aim is to analyze my way of working, and through the technique of overlaying, appropriation creating something, which I am confused though as I do not want to “make anything” but I do not want to just represent either. So will work on those.
THe plan is to have a project which investigate FROM ORIGINALITY TO THE DEATH OF THE AUTHOR.
This is being my reference:http://en.wikipedia.org/wiki/The_Last_Sleep_of_Arthur_in_Avalon
“Following the artist’s death, the painting in its frame with Latin inscription passed to a neighbour of Burne-Jones’s, whose descendants, John and Penryn Monck, sold the work at auction at Christie’s on April 26, 1963 where it was bought by Luis A. Ferré, a politician and founder of the Ponce Museum of Art who would later become Governor of Puerto Rico.”
I could have done a whole project about this perhaps!
I just found this very useful, to conceive a clear description, having a small exhibition space, and as well as a format, an exhibition space..etc.
I received just now Summer’s interview! I will layout that as well asap.
I am then waiting for:
Carlos Villanueva Brandt (meeting him on tuesday)
John Palmesino and Ann Sofi (meeting them on thursday)
Harry Kay aa honours 2013
Alvaro Pulpeiro dip7
albane duvillier dip7
lili carr dip14
chris johnson dip7
Richard leung dip14
I am very slow today. Probably because all I want to do is just eating chocolate. Happy San Valetine’s day from me and Paul. ( a very lovely man who is cleaning my carpet today!) eh eheh
I am trying to speed up this drawing as it should have been done ages ago. It is important, because it is an active drawing, with movements, it is going to be a sort of stop frame animation, so each drawing has a small change related to the new layer. I am sure this will help me with the new series of drawings which will not just represent but create.
Into the magazine layout. Soon updates. I think A5 as a size. Need some photoshop now on advertising/other drawings to add..
Looking at the monocle design http://monocle.com/magazine/
I think I deserve…. some.
Antoine’s interview written down now!
What did getting the AA honours mean to you?
(I guess) it’s like every prize, it always feels good, never changes a thing!
What do you think your project had to be part of the AA honours?
Well, I didn’t think so, the jury did. I’m fairly convoked that we present that day much more (if not only) for the audience of students. Therefore I think that unconsciously it it that dialogue from student to student that is being assessed, much more than the work per se.
When someone received the AA honours, was just the project, which is awarded, or the author, or both?
Your question implies there is a difference. There isn’t. There should never be. And I don’t mean it in a fashionable way, but in a dramatic one. You have to be your work wether you get the prize or not, wether it makes you do stupid thing or painful ones.
Do you think AA honours always represents the best work? If not, when did you feel a project or a person did not merit the AA honours?
It presents (not represent) the best work on that specific day. There are so many projects that deserve the honours but don’t get it, for millions of reasons. A fun thing to do would be to look today at what honours projects became, what was their after-life? Only then, I think we would be able to see which one truly made a difference. When we present it’s not even the title of a movie script yet, imagine what it must take to make it a actual movie. That I think is the most exciting aspect of a price, the after-life.
The AA honours represents a student who has achieved high intellectual level and design. Do you know you that you are an example for the future generations? How does it make you feel?
Let’s it acknowledges that a student has achieved “something”, to define it as intellectual or designed would reduce the nice and blurry aura around the AA honours. As for an example, I’m a true believer that everybody should destroy their examples, so I hope nobody looks at the work but really cut it in peace.
When we receive a merit, there is inevitably a sense of hierarchy, which comes into account.
Do you feel this way? Are you being honest?
I wish their was! Hierarchy implies something, that somebody “higher up” has in anyway “more” than people “below”. Well, getting honours didn’t get me a better job (or better salary) than any other of my friends, nor did it gave me any power anywhere in the architectural sphere. So no, of course there isn’t any hierarchy coming with honours. Except the privilege to be interviewed something…!
Did this event change you as a person? If yes, how?
Yes fundamentally. But only for the weak individual I am. 8 years before getting honours I was told by my architecture teacher in Belgium to quit architecture. Honours confirmed the most important thing, talent doesn’t exist!
Did you have the chance to publish your work after graduating?
The AA published the Honours projects. (sorry, I’m sure you know).
Do you know that you should ask the AA copyright office before publishing your work?
I didn’t know that! Knowing me I probably wouldn’t… But is it one of these un-applied rule or do they actually care? Can I sell my images?
Do you think it is fair that the AA holds shared copyrights on all of your projects?
I’m pretty sure it was written somewhere where I signed. So yes it’s fair. But that doesn’t mean it’s good. I’m against copyrights.
As your projects are part of the AA school, people are able to see your work anytime and be inspired by it. Would you mind if someone will scanned your drawing and framed it in his/her room?
I would love that!
Do you keep your originals drawings or are you not attached to them?
I never keep anything. But that’s easy to say, we all know that it’s all on the computer! I can just print it whenever I want.
Throughout your years at the AA, did you ever leave or abandon your work?
Sounds very dramatic! Yes I’m guilty, I abandoned all of my work I think.
If you want to keep it, is it as a memory or because you are scared someone might use it?
I really wish people would steal leftover and already finished drawings and consider their own, it would create a much more fruitful production environment.
If you know someone had taken inspiration from one of your models/drawings/pictures, would you mind?
If someone would have taken actual fragments of your work and use it in his/her project, would you mind?
Would you consider this a theft? Why? Or Why not? At what threshold would you consider this a theft?
Would you mind with any of your drawings or just the AAhonour’s work?
The question is really one of society, not one of architecture. One can either fight for the private property of his/her production (which I am sure is an enormous administrative pain, and time loss) or one can make sure whatever he/she produces is absolutely un-disconectable from him/her. Which is why musicians will very soon stop making money (therefore stop selling) with songs, but with their performances. It is only a matter of time until architects will face the same kind of dilemma. The choice is easily done.
UPPER HEYFORD, OXFORDSHIRE, OLD US AIR FORCE, WHERE AA ARCHIVE HAVE MOST OF THEIR DRAWINGS.
MOVING SOON TO NEW FARLEIGH- BUNKER
We will be moving from Oxfordshire, to farleigh. From scanning to shredding.
New interviews coming soon.
I will then start the new drawings. See you at school soon for the Open Jury!
Interview with Edward Bottoms, AA Archivist
S:We could say that the work of an archivist is based on the classification of work by authors.
E: That is a part of it. It depends obviously what do you define as an author, when you come into an archive like the AA, is not just student’s work which we are archiving but as records, it is all sort of institutional records. It is not one single creator. There are many creators. It can be a body, or a department.
S: What is the methodology of cataloguing at the AA Archive?
E: The way we catalogue in an archive is different from a library in the sense you catalogue in an hierarchy, like a tree. So you start off with the AA at the top, and a description of the entire collection, then a branch of membership, and how many members were there, descriptive context. Then the categories by subject. But the important thing is when you just have one document, that in itself is meaningless, so you have to know the context. Why was it written, where was it written, and if you slot the pieces together, it might lead to a much deeper comprehension of that issue. So the library has all the information, but for the archive, it is very difficult to search for the catalogue online. You need some experience in that. We try to have it in a google manner.
S: Do different archives works between each other?
E: yes, these days is mostly research in the internet is much easier to search across collection. So we export all our records to the archive hub, which is a collection of archives across the UK. And you can search across the different archives. It is freely available online. There are the descriptions and some pieces have the digitalized or photographed image next to it.
S: How do you decide which work goes to the archive?
E: It is very complicated, it depends on category of work. If you talk about student’s work, it’s very difficult thing to decide. There are several ways archives do this. We try to do it within the constrain of time and physical storage space. So obviously if you collect huge amount of student’s work, you have to catalogue it, store it somewhere, there is no time to catalogue it properly for the huge amount , so we have to be selective. The question how are we selective?
S: ….the best?
E: Well, you could say the best, but who decide what is the best. Also it depends what’s the purpose of the archive is. Whether it is going to be a showcase of outstanding students. Or whether is to be an institutional archive which show off the teaching, the pedagogy of the AA. Often you find that star’s student are the one that stands out and they are atypical and they go on their stand, so it is not shown what it has been told such as, equally you want to choose the students who will be famous in the future, who knows. And often many of the students who are successful in school, there is very little correlation who is successful afterwards. People like Richard Rogers did not have a particular outstanding student, so it is very difficult to choose. We are aware and we have to choose one solutions which allow us to deal with the material in an efficient way. In the way of cataloguing and make it available.
E: We try to choose the one who get awards each year. I could make a selection and the tutors could make a selection and it will always be subjective. The price of awarding things is subjective, so we just have to do it the best possible way and the way we do it is through the AA honours, the annual prices.
S: So more or less every year do you get one or two best drawings?
E: It depends, we try to get the whole portfolio, that way is not just a snapshot, you got to think that if you look back at it in twenty years’ time one drawing will be meaningless unless you got the context, the brief even, and the process. People are interested on how people learn, and if you can show that process through drawings and a portfolio is much more meaningful. Archive is all about context.
S: As an archivist, are you interested in having as much of the same author?
E: We want to collect, the whole cultural and social life of the AA. Portfolios that portray the cultural life at that time and it is very formative for architects establishing their identity, how they worked, and an ideology. There is a big communist cell in the 1930s, very influential at the AA, lots of parties, carnival, we got scripts, but also the history of the AA itself from 1948 onwards, nominations papers, PhD students might look at the greatest pieces. Which demographic of students went to the AA..who was behind the AA. We got over 10.000 drawings, and we are getting probably forty portfolios from current students and the London eye plus huge amount of records. We are trying to make it everything available online. Therefore, we know as well who came to the AA, as there is such a broad network of people, we do not have idea. When we put up a picture, we only do it in low resolution with a slight watermark on it. The reason is to avoid having people taking it and use it in publications without permissions.
S: is it just an economical reason?
E: we charge 30£, we have an arrangement of charges. Depending from the institutions or the publications etc. So if architectural review wants to come and use one of our drawings, can pay 60£. This cover out cost of us doing all the administrative, the quality scans. The price is set.
S: When a portfolio is taken to the archive, are you able once you graduated to take it back?
E: The AA archive was only set up five years ago. And I think that the statement in the intellectual copyright within the academic regulations was only put up three or four years ago, so before that, there is nothing written down, no agreement that copyright is shared between the students and the AA school. Intellectual copyright is different from copyright of the actual object of the property’s ownership. Therefore, if Zaha Hadid gave a drawing back in 1980s for instance, she cannot have it back as she is giving it to us as a donation. It has to be documented. Same if you buy for a painting. What we do these days when someone give us a drawing or a portfolio, we let them sign an acquisition sheet, because we spend a lot of money first at all cataloguing the work, then storage and protecting materials. So over forty years, it can be hundreds of hundreds of pounds. It is conservation work. As well as becoming part of our intellectual property, in the sense researchers come and use it.
S: Which is the rarest piece here?
E: In terms of financial value, if you would do it through auctions, the most likely to sell, because for us the whole value is not the singular piece but the collection of the whole as a collection resources. It will be an original elevation of the House of Parliament, from Charles Barry’s office. The single most valuable.
S: And is valuable because it is original
E: yes, it is valuable because it is original.
Interview with Eleanor Gawne, Special Collections, AA library
S: In the AA school regulation, I found a brief description of copyrights infringements, and a section on the exception of fair dealing. What is “fair dealing”?
E: Fair dealing is applied to books, so it allows you for educational purposes always, to copy or scan one copy of the original. You can copy up to 5% of the original work, which can be a whole chapter or a single issue of a journal, one short poem or a short story, max 10 pages. None of these can be posted on a network though.
S: In the library, there are few AA Thesis. How do you choose which thesis can be available at the AA library?
E: We have just certain thesis, not all of them. Usually it is, what we can call the best thesis. Tutors decide which work by which students could be possibly go to the AA library.
S:Does the fair dealing concept works as well on thesis?
E:It is important to differ as being a text,you are not copying you are plagiarising a piece of work. So I do think you could the fair dealing for max 10 pages for instance. You would not be able to use it without quoting in an essay for example. This is why we use Turnitin in the school. Turnitin is an originality checking system. It is used to evaluate the work, based on the truthful of what they wrote.
S:Which entities do you know they are dealing with copyrights?
E: ARLIS is the Art Libraries Society and it is the professional organisation for people involved in providing library and information services and documenting resources in the visual arts. There is an event coming soon called: Keeping Within the Lines: Approaches to Copyright in Art and Design Archives. A study day comprising presentations, panel discussions and a practical workshop, focusing on copyright and other legal issues in relation to the use of art and design archives. Expert speakers will explore the principles of copyright presented by current legislation and thinking, and discuss the issues, challenges and opportunities of using copyright-protected archive material for outputs such as research, publication, exhibition and artistic intervention. The event will aim to provide the practical skills and understanding required to use and appropriate archive material in rich and diverse ways, while ensuring the interests of creators and rights holders are protected.
DACS, as well; grant access to works of art by some of the world’s most popular artists, granting a licence. So you ask phone them, telling the artist’s name, the size of the original image you wish to use, the resolution and they will give you a price. Sometimes they will bargain the price as well.
Then, there is ACADI, which promotes the status of visual resources curators and aims to highlight the importance of image collections within education.
S: Therefore, these entities are working just for living artists
E: Yes, as if the author is dead, you do not need to ask for a copyright. Unless there is a managing agency which is dealing for them.
E: Copyright’s issue is very delicate. I will not advise you to go that way. It is quite scary, really.
I am writing from the recording of my iphone so it will take a while tonight. Others interview coming soon!
Today I have a busy schedule:
-I just interviewed Tom and I am writing the interview
-I wrote down Eleonor’s interview as well and I sent it to her for approval
-I am having the AA meeting from 11 to 1pm then straight away interview with Edward Bottoms
-Coffee + interview with Vere later this evening
Then I will be back home and as I have been reading here and there, I started drawings some small things which I think it could be useful for me to develop further. I will post the drawings later on tonight with “original” references.
For Friday I will have 1 or 2 drawings finished and the magazine outline.
I am as well thinking about the figure of the lawyer in the school, which intrigues me. And Tom’s story of a student who once, did all the sketches for a project and he sent the drawings to India, where they drew the plan/sections/3d model and have it back. This could be a further development, of the figure of the architect as a director. Sending the files to a factory and have it back. It will be nice to draw as well and amplify the visions of the drawings into the whole world.
So clarify the figure of the architect and the factory process for Friday as well.
Today I learned a lot of things:
1. Prepare proper questions
2. Dont ask stupid questions which I can find by myself http://www.shemazing.net/wp-content/uploads/2015/01/sitting_cinema_gif.gif
3. Use the right words in the right context, and probably write it properly in english http://media.giphy.com/media/mFdnWF1RTI7fi/giphy.gif
4. Send the questions first to Nastasha http://media.tumblr.com/tumblr_lpa3aww7pP1qipwez.gif
5. The work should be a research to a bigger picture. No drama please. http://media.giphy.com/media/s5ZhA3dyzOgDK/giphy.gif
6. Start layering out the magazine and finish the on-going drawing from Eugenie’s table to mine.
7. Let’s try to have this kind of momentum at previews! http://media0.giphy.com/media/11uArCoB4fkRcQ/giphy.gif