Week 7: September 3rd, 2015

New Wilderness – exhibition

  • An exploration of networking – they (collaborative exhibitions) are becoming bigger and bigger in our society – and are becoming more important
  • Our project – where we (individuals and the group) are in space and time and the world – how we can express this as a group

Recap of Course material

Last Week

  • The Occupy movement, & global tribes (via the internet) – like minded, or sharing a common interest, knowledge etc.
  • The internet in relation to redistribution of power within the world – has e.g. democratised education through free online education/research papers etc.
  • Broadening the knowledge space

New Wilderness project (e.g. Instagram to document the exhibition, keeping the New Wilderness project together – in one integrated identity – linking platforms

“Traditional ways of thinking about art history” – see Cloud (early topics)

e.g. this week the tent has resurfaced in the news on Syrian refugees in Europe.

Second image opportunity this week – The Chinese ‘celebration’ parade for end of WWII – but edited specifically for the media. (look up also news items about events in other countries e.g. The Age 3/9/15 The Odd Spot Page 1. Odd Spot

A Chinese ice-cream chain has 3D-printed ice creams with the face of Japan’s wartime prime minister, General Hideki Tojo, to mark 70 years since VJ Day. War criminal Tojo was executed in 1948. “Doesn’t the thought of putting an evil man’s head in your mouth make you feel sick?” asks a user on social media site Weibo.


Ice cream image of Japan’s time Prime Minister, Hideki Tojo on sale in Shanghai, on September 2nd. (Hideki Tojo is a war criminal in China)

Image source : https://timedotcom.files.wordpress.com/2015/09/tojo-ice-cream-china.jpg?quality=65&strip=color&w=1100

Article source: http://time.com/4019788/china-ice-cream-tojo-war-anniversary/

The big spectacles in China are designed to minimise the individual and bolster the power of the state – breeding conformity, control.

Visual literacy allows one to step back and analyse images.

e.g. the Borgias (TV series) – shows medieval Europe as being designed to reduce the people to mere dots – the Church became the ultimate emperor – art was a huge part of this

In traditional art history thinking

  • The concept of the art as genius is no longer – or not in that form – e.g. learn art and show art via the internet.
  • Privilege of form over content – e.g. painting hierarchy – representational art work, – this is also a concept of the past

Contemporary art – use of body fluids and blasphemy may be more acceptable as art –

Tribal art – ritualistic – there was no word for art as art meant everything. Westerners have the baggage of genius and connoisseurship. The Pedagogic Turn – that the institutional space is to educate everyone via a little black box with head phones – a breakdown of the elitism of the gallery.

New Wilderness is about different ways that art exists – that art is part of everyday life, not just in art galleries.

Recap on Berger, Kant (on beauty and aesthetics in art, formal qualities), art as propaganda, showing off riches etc.

In the mid-20th century there was a turn towards politically motivated art. (I disagree, this is nothing new). Especially in the left-wing – e.g. communism – Che, Frida Calo, Diego Di Gacia .

The Occupy movement – links to Ad Busters website – civil disobedience against multinational companies – by harnessing people power https://www.adbusters.org/

Paolo Ferrero – South American educationalist – had some theories to empower people by working together and education.

What is in the free trade agreement with China? We’re not allowed to know because it’s ‘commercially sentisitve’

Today – a Workshop about object (next week Cam on space)

Today art doesn’t have to be in galleries – is even better if it’s in a national gallery.

Now – public art spaces, virtual art spaces, – but every context has considerations and constraints – the image is frames by its context in space.

Now – multiple meanings – encouraging of participatory art – the process of participation becomes the art work.

Handout sheet – 1 – 3 figures (2 images and an explosion map/network)

– refers students to the piano in the Mesolithic space – what does this do

  • The eye is drawn to the piano – out of context –
  • The image is a construct of a site based on artefacts and bones found –
  • No commodification – people had their own role – nothing ‘for sale’
  • The thing (the piano) allows us to explore how the society and its artefacts are interrelated.

Second image (same handout) – a car body with each part of the car separated out and laid in front.

  • We take things for granted – e.g. all the parts of a car
  • Philosophical questions about objects

Figure 3.2 (same handout) – Table – the links between the material plaster – and its sites and uses in Mesolithic times.

We need to reflect on materiality and new materiality.

Object Workshop (Handout) – list of artists who worked interrogating the concept of ‘The Thing’

Heidegger and ‘the thing’ (also the concept of ‘the everyday’)

Artists to look at Karsten Bott (Frankfurt) –the Museum of Everyday Life

  • Looking at contemporary objects and how they are analagies for concepts from past museum collections
  • Also The Archive of Contemporary History – over ½ million objects collected in boxes – displayed in various exhibitions. (use of space – e.g. on floor with visitors viewing from raised pathways.

Mark Dion

  • Reclassification of old objects

Michaela Dwyer – conceptual, object-based work

Sarah Sze (Sydney)

The Idea – things are not separate from us – objects are part of us.

Discussion about ‘the commodification of art’ – e.g. the mystique of old masters, the oil painting,

  • The creation of a market place for art – the commodification of artists –
  • Peter Hill’s art practice – which is not commercial – usually works in gallery spaces with ‘networks’ – collaborative (left-wing) – and the superfiction concept.

What do we want for our exhibition –

Ryan Gander –(ACCA) –

Definitions of ‘object’ – little thought bites.

K-Mart is the op-shop of two years from now. MK

How does one put a value on one’s own art works?

May Ray, 100 Objects of My Affection 1960s – MK reads accompanying over-view for the exhibition.

Karl Marx – neo-Marxism – more participatory-based processes. Marx – about the workers – Who made this object? Where did the material it’s made come from? Who made/mined that? How did it get here? What about the packaging

Artist – Martha Rossler – fascinated with Garage sales Image source: http://www.moma.org/images/dynamic_content/exhibition_page/77823.jpg?1404310901

http://www.moma.org/visit/calendar/exhibitions/1279 – Marxist underpinnings to Rossler’s work – http://www.martharosler.net/about/index.html

[NB High end op shops in NY (next time I’m there!)]

Project Space:  Discussion of exhibition

  • the whole area is available
  • tent for each student (negotiable whether each provides own tent, or borrows from Merinda)

Student responses for the whole space:

  • a large map of Geelong – on the floor
  • a giant Monopoly game (or other such board game) for those coming to the exhibition to play

This latter idea led to a post-class discussion – and morphed into a generic pathway-type board game to lead the participants through the exhibition space and past all the tent exhibitions.

Liz suggests we give out dice to each group, so they (each person) can become game pieces.  We’d make a pathway throughout the space, going around each tent, with lots of activities on the way.  Different areas would become streets or suburbs of Geelong with appropriate instructions.  e.g. ‘Moorabool Street – missed the bus, wait two turns, Newtown – School Fees due – back two spaces (family holiday to Bali instead of Paris).  We’d hope each of us would take responsibility for one area’s ideas.  Also things to do like – adding to communal art works, make a postcard picture of your favourite thing, take a selfie on the suburb nearest to where you live (with cards to post on the NW instagram site).

Marking this on the floor with masking tape.