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week 4 - Conceptual Framework
Transcript of week 4 - Conceptual Framework
a scaffold for investigation
The Conceptual Framework
Claire Healy and Sean Cordeiro
Ah Wei Wei
Claire Healy and Sean Cordeiro’s spirit of adventure and their uncanny ability to transform the everyday into something extraordinary is evident in the installation work 'life span'.
WITH LIFE SPAN, SEAN CORDEIRO & CLAIRE HEALY HAVE ARRANGED 175, 218 VHS VIDEO CASSETTES TO FORM A SOLID BLOCK. THE COMBINED RUNNING TIME OF THESE CASSETTES, IF WATCHED ONE AFTER THE OTHER, WOULD BE 60.1 YEARS, THE AVERAGE HUMAN LIFE SPAN IN 1976 – THE YEAR THAT THE VHS WAS RELEASED
The artists have an exhibition at The MCA commencing in October. It features 20 works by the artists.
Your attachment to place and property is questioned in several works looking at the concept of ‘home’ where Healy and Cordeiro have acquired, dismantled and reassembled large-scale domestic dwellings – an entire suburban house in the Cordial Home Project (2003), a well-loved caravan in Wohnwagen (Flatpack / Past Times) (2006-07), and an old Queensland farm house in Not Under My Roof (2008).
Explore how the artist’s nomadic lifestyles are reflected in works referencing transportation and the practicalities of storing and moving material possessions. In Par Avion (2011), a Cessna 172 aeroplane is dissected into 70 small pieces which are posted to the exhibition destination and re-arranged into the shape of the original plane.
Some installations will challenge your notions of security, such as the daring new commission Stasis (2012), which creates a sense of potential accident or threat, positioning a suspended light aircraft outside the MCA’s building.
Wolfgang Laib finds spirituality in the simplicity of everyday, organic substances—milk, pollen, beeswax, rice—that provide sustenance or engender life.
Ritual plays a central role in all of Laib's highly reductive art. He lives in a remote region of Germany's Black Forest, communing with the natural world outside his house as a painter would work in his or her studio. During the spring and summer months he collects pollen, including dandelion, hazelnut, pine, buttercup, and moss varieties, from the fields surrounding his home. He displays this laboriously gathered material in simple glass jars or sifts it through sheets of muslin directly onto the floor to create large, square fields of spectacular color.
A leading European artist Wolfgang Laib's art is often made as a kind of meditation. Each spring, for example, Laib goes out into the fields and patiently collects the pollen as it comes into season, which he then uses in what have become his most well-known works.
Laib spent part of his youth in southern India and the experience had a profound impact on his life and work. Having studied medicine, it was through his exposure to temple offerings in Tamil Nadu that he realised how he could begin to make art as a form of devotion. His signature works with pollen are good examples: the pollen is sometimes shown in jars but most popularly sprinkled onto the floor to form a glowing yellow rectangle which has the quality of a horizontal Rothko except that it also has a marvellous fragrance.
Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.
Installed at the TATE modern in 2010 in the Turbine hall.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
AH WEI WEI
The work poses challenging questions:
What does it mean to be an individual in today’s society?
Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for society, the environment and the future?
One of China’s leading Conceptual artists, Ai is known for his social or performance-based interventions as well as object-based artworks. Citing Marcel Duchamp, he refers to himself as a ‘readymade’, merging his life and art in order to advocate both the freedoms and responsibilities of individuals. ‘From a very young age I started to sense that an individual has to set an example in society’, he has said. ‘Your own acts and behaviour tell the world who you are and at the same time what kind of society you think it should be.’ As material for his art, he draws upon the society and politics of contemporary China as well as cultural artefacts such as ancient Neolithic vases and traditional Chinese furniture, whose function and perceived value he challenges and subverts.
Painted vases 2006 | Synthetic polymer paint on ceramic (Neolithic period) | Purchased 2006. The Queensland Government’s Gallery of Modern Art Acquisitions Fund | Collection: Queensland Art Gallery
sunflowers installed at TATE modern 2010
Beijing National Stadium (BNS) was a joint venture among architects Jacques Herzog and Pierre de Meuron of Herzog & de Meuron, project architect Stefan Marbach, artist Ai Weiwei, and CADG which was led by chief architect Li Xinggang.
the agencies of the artworld
the role of the artist — the who, what, how, and why. The concept of the artist
encompasses practitioners such as artists, craftspeople, designers and architects. The artist can be thought of as an individual or as a group, school, movement, etc
artworks as real objects, as material, physical and virtual objects. The concept of
artworks includes art, craft and design as two- and three-dimensional works (including
architecture), and four-dimensional and time-based works. Artworks also exist as
representations of ideas that reflect such things as personal responses, cultural views,
symbolic interpretations and critical reinterpretations of other ideas
how interests in the world are represented in art (eg art as a representation of
experience, class, ideology, age, events of significance).
how has it effected the choices and decisions they make about what to represent and how to represent it?
the role and value of the audience as a body of critical consumers. The concept of the
audience includes art critics and art historians as well as teachers, students,
entrepreneurs, patrons and other members of the public. Audiences for works change
over time and bring different meanings to artworks, artists and interpretations of the
Atomic: full of love, full of wonder,
the Nike Savvas work commissioned by ACCA's artistic director, Juliana Engberg.
"You view it like a painting," says Savvas. "But it's nice to get up close for a different viewing position; it's very kind of galactical."
The spray-painted balls, attached to strings of fishing line, vibrate when wall-mounted fans are switched on, and took 10 days to install.
Savvas, 42, said she was partly inspired by the French artist George Seurat, who covered his canvas in tiny dots to create landscapes, but also admitted homesickness was an influence.
"I live in London now. I come back every year, but I get desperately nostalgic for the Australian landscape," she said, explaining that the colours are layered to represent the sky and red sand. "The shimmer it takes on when it vibrates is a bit like … heat haze. The further back you stand, the more you see it."
The room installation 'Atomic: full of love, full of wonder' is comprised of a shimmering haze of vibrating coloured balls, suggesting the very atoms that are the fundamental structural units of all things. This mesmerising work has an extraordinary optical effect as the 1000s of suspended balls oscillate gently within a breeze created by large fans within the gallery space. It suggests a vastly expanded op art work from the 1960s, a form of late modernist abstraction in which the appearance of movement was achieved through carefully calibrated designs in paint on canvas or in sculptural and light works with components that moved or gave the appearance of moving. Also known as kinetic art, opticality - eyesight and its manipulation - became the subject of the work itself.
Ah wei wei -
World Map, constructed from 2000 layers of cloth cut into components, is installed as part of the Biennale of Sydney.
Detained - political activist
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VENICE BIENNALE 2009- review
the Australian off-site project Once Removed curated by Felicity Fenner offers a refreshing insight into the predicament of displacement. Undoubtedly part of the show’s appeal is the extraordinary location, the Ludoteca, formerly a convent in a prime position between the Giardini and the Arsenale. At the entrance is a chapel, where Claire Healy and Sean Cordeiro present their impressive new work Life Span. 195,774 VHS tapes are stacked into a neatly arranged plinth, responding boldly to the religious architecture of the space. What is immediately striking is the weight and solidity of this monument, an exaggerated reminder of the obsolete material packaging of globally circulated screen fantasies. But the artists also reflect on the passing of time and its multiple scales; neither the crumbling walls of the old church nor the black plastic surfaces of the tapes can speak of eternity. The combined running time of these tapes is the average human’s life span when VHS was released, 66.1 years. Thinking of how many hours of pornography fill the monolith, the idea of this content flashing before one’s eyes at death is also staggering. The rumours around Venice before the opening were that the Australians had ‘video porn’ on show. Needless to say, Once Removed has been well attended.
eal time arts magazine - alexandara crosby
how is it made?
what is made from?
how was it composed?
why was it made?
what is its purpose/function?
what does is communicate
Born 1963, Barcelona, Spain
Marti�s artistic process is driven by the symbology of everyday industrial materials, craft practices, conceptualism and formalism. He creates dynamic woven constructions and sculptural installations that combine intellect and a sensual, Baroque minimalism. These works have a strong inflection of portraiture and resemble swatches of fabric that capture personalities, moods and intensities. As such, they recall the intimacy of fabric in contact with the body and represent not only states of feelings but also regimes of class and power and the idiosyncrasies of personal psychosexualities.
Sherman Galleries website.
Many of Marti�s woven constructions are abstract representations of friends or people whom he admires (for instance, Rover Thomas and St Francis of Assisi), and include synthetic fibres, rubber, barbed wire, copper wire and cotton thread. The patterns and textures of these works suggest individual identities similar to the coded signatures of DNA. His installations are characteristically immersive and large-scale, juxtaposing theoretical concerns and articulating the private and social perceptions surrounding the body.
the unseen plates
analysis of the works using one or more of the content areas