Art in Progress by Leonora Hamill
Art in Progress is an exploration of art schools across Europe, Asia, Africa and the Americas. I photograph empty studios in art schools marked with the richness of the activities undertaken by the students. These images, shot with a large format camera and printed analogically, are intentionally detailed, frontal and neutral.
The idea for Art in Progress emerged in China where I was doing an artist’s residency at the Guangzhou Academy of Fine-Arts three years ago. It is a huge red brick structure with thousands of students and not one single sign in English so I used to get very lost on my way to various meetings. As I turned in circles I would come across empty studios I was drawn to. Often there would be very familiar object, like for example a cast of the head of Michelangelo’s famous statue of David, in an otherwise very unfamiliar place. I started to wonder how art was taught across the world, if there was a certain continuity to the Western tradition of history of art and of the academy or if each country had its own didactic approach.
dlorepus said: Visiting a museum is a beautiful thing to do by yourself
True, much like travel. Although sometimes it’s nice to have someone there to pick your brain!
Going to start a business to help people find suitable museum buddies.
Rudolf Stingel, Untitled, 2012
Rudolf Stingel (b. 1956, Meran - Italy)
Selected by the Palazzo Grassi to represent Italy at the 2013 Venice Biennale, Rudolf Stingel has pulled off an impressive feat with his full-room installations. All 5,000 square meters of the Palazzo Grassi have been used for the installation, covered with industrial wall-to-wall printed with blow-ups of classic Eastern carpets and paintings. Forty black and white paintings, characteristic of his style, are displayed over the carpets. Each of them has been selected in relevance to the history of Venice.
"The exhibition is centered on the relationship between abstraction and figuration, observing how the constant fluidity between these two polarities characterizes the artist’s poetics" (says myartguides.com). As an artist, Rudolf Stingel’s research is always striving to alter the perception and expectations of painting. His work has been the subject of solo exhibitions in many international institutions, including the Secession in Vienna (2012), the Neue Nationalgalerie in Berlin (2010), the Museum of Contemporary Art in Chicago, the Whitney Museum of American Art in New York (2007), the Museum für Moderne Kunst in Frankfurt (2004) and the Museum of Modern and Contemporary Art of Trento (2001).
by Ginette Vincendeai
"Kassovitz also negotiates the realist/non realist dichotomy through authorial intervention. First the ‘in-jokes’: after Hitchcock, Godard, Sorssese et al., he inserts a revealing cameo of himself as the skinhead beaten up by Vinz, and of his producer Christophe Rossignon as a taxi driver (double in-joke); Cassel’s name appears on the letter box at Asterix’s flat; his shaved head makes Vinz look like Kassovitz; Kassovitz’s father appears in the art gallery; the attempt to ‘switch off’ the Eiffel Tower is a reference to Un monde sans pitie (1989), produced by La Haine’s Production Lazennec. More subtle means reinforce Kassovitz’s signature on the film text. The time counter which appears at intervals has no narrative function; but it gives the film agency and exhibits the author’s manipulation of his material. Flamboyant mise-en-scene effects punctuate La Haine, reminiscent, as Kassovitz admits, of music videos (he directed one in 1990, for French rapper Tonton David). The music video aesthetics can be seen, directly, in the scenes that are expertly cut to a musical number: the opening news footage, Hubert parcelling out his drugs, the break-dancing. Generally, black-and-white stock, rapid editing, striking changes in camera angles, asymmetrical compositions and direct address to the camera evoke ‘MTV aesthetics.’ The mobile camera restlessly tracks and pans, follows or precedes the three young men, hot on their backs as in Mean Streets (1973), pausing to produce strong horizontal and diagonal compositions of their faces or the back of their heads, magnified by Cinemascope. The camera ‘punches’ the air and moves like a bullet through space (as in Besson’s Nikita 1990). A few cuts evoke gun shots. Disorientation is aimed at: the 180-degree pan in the police station, the first view of Paris with its ‘compressed zoom.’ An extraordinary helicopter shot over the cite accompanies the musical mixture of rap and ‘Je me regretted rien’ floating eerily above the buildings, a neat image of the film’s deft merging of the social with the aesthetic. When Vinz hides in a cinema, his cigarette smoke soars in the air in ornate light patterns. The classic-realist flow of the boys’ progress is interrupted by incongruous scenes such as an old man telling a story in the toilet, an several vignettes seen from Vinz’s ‘mind’: his dancing to Jewish wedding music, the cow in the middle of the estate, the car going in fast reverse down the Paris street, the imaginary shooting of the policemen outside Les Halles. The boys’ shifting compositions within the frame conduct a sophisticated play on the gaze. They look straight a the camera, or conversely look on events from an off-centre position, leading, as Claire Vasse observed, to an unstable audience viewpoint, ‘neither witness nor spectator’ (Vasse 1995. 6). Even though, as Tarr (1997, 45) obersves, the film gives Vinz a more prominent narrative position the overall impression is if a dynamic interaction of the oral space: Said with his incessant tchatche, Hubert with the emblematic framing story about a man who fell from the fiftieth floor. When the old man tells his story (about the holocaust) in the cafe toilet, an elaborate play on mirrors cuts up the space and the boys’ bodies, graphically suggesting their shattered identity and disorientation."
Man is a social creature, so how does he cope in situations of isolation - bereft of human contact - or in situations where he or she is confined in the company of just a few individuals for long periods of time?
Anahi Aradas explores the effects of isolation and confinement in a tiny community in the Antarctic, speaks to former astronauts in the US and visits a Swedish prison, where inmates are encouraged to practise yoga to help them cope.
King George Island lies just off the Antarctic mainland is home to scientific research stations belonging to a range of countries. A posting here is a matter of choice, and not many bring their families with them. But helicopter pilot Fernando Fontt and his wife Carolina have opted for two years in this tiny settlement, along with their one-year-old son, Fernandito.
Astronaut Al Worden represents the Apollo generation, and is one of only 24 human beings to have travelled to the Moon. His solo three-day orbit of the Moon earned him the accolade of ‘most isolated human being’ from the Guinness Book of World Records. Michael Lopez Alegria made four journeys to space and spent 215 consecutive days on the International Space Station. And Diego Urbina, of the Mars generation, spent 520 days in a hangar in Moscow, simulating the return journey to the Red Planet. All speak about their experience of isolation and confinement, the pleasure and the pain.
Anahi also meets Annika, a woman serving a 20-month sentence in a Swedish women’s prison in Ystad. Like all other inmates, she is locked in her cell every evening for 12 hours. She welcomes the solitude and keeps herself in mental balance by meditating. In Ystad prison the staff conduct yoga lessons for inmates.
Amon Tobin - At the End of the Day
A man sitting in front of me on the bus casually pulls out a crack pipe and starts smoking it. No one seemed to really care and quite frankly it didn’t bother me either…
Jurgi Persoons Spring/Summer 2003
Went out to a concert last night and realized this morning that the vibram heel on my right boot is missing. Fantastic.