Workshop Notes – Performing the Archive

On Kawara –

Marking the experience of life and time.

Lejeune writes extensively on diaries – proof of life

Linda Montano &

Jamie McMurray – 365 Performances

Joshua Sofaer – Perform Everyday (what>, 2008) – includes objects & instructions – book is over $80 on Amazon (rare)

Thanasis Chondros & Alexandra Katsiani – Greek couple who have performed together over 25 years – and everyone in Greece has seen their work. Not doing it anymore though…

Repetition…

Ethics of Art – of trying to represent the experience of someone else – it’s authenticity? – the authorship?

** Think about: Recording the audience member’s experience of an event/performance/etc.

Presentation Assignment – Perform the Presentation – Who is presenting? The Collector or someone who has found this collection? ### Present as the collector or as someone who has found the collection…

 

 

 

Night of the Black Snow

Firebombing of Tokyo.jpgThe Bombing of Tokyo (東京大空襲 Tōkyōdaikūshū) often refers to a series of firebombing air raids by the United States Army Air Forces during the Pacific campaigns of World War II. On the night of 9–10 March 1945, Operation Meetinghouse was conducted and is regarded as the single most destructive bombing raid in human history:[1] 16 square miles (41 km2) of central Tokyo was annihilated, over 1 million were made homeless with an estimated 100,000 civilian deaths. The Japanese later called this event Night of the Black Snow.

https://en.wikipedia.org/wiki/Bombing_of_Tokyo

Kayoko mentioned these in the Performing the Archive workshop

READING DIARY: Artistic Research in the Era of Globalization (Butt)

The 3 readings on Thomas Hirschhorn’s Gramsci Monument at Forest Houses in the Bronx, NY introduce us to a broad range of perspectives on the work. First, Hirschhorn’s short essays on the origin of the monument as part of the 4 in the series, offer also his theory behind Unshared Authorship and the “presence and production” guideline he uses for his monuments, specifically this one, where the interaction and participation by others are integral to the successful realization of his piece – even if not required by the artist.

I found  Hirschhorn’s writings to be enlightening and helpful in understanding the ideas behind the piece. His schema on shared and unshared authorship opened up new ideas for me too. While I’ve never thought of my own work in these terms, it helps me to consider other ways of looking at – and demanding more of – my own socially-engaged art projects – especially in terms of creating an equal experience and sense of agency around a project/work of art that sits within a public space and a community.

What I get from Fred Moten’s the gramsci monument poem is a sense of the roller coaster like fluctuations in how Moten personally experienced the Gramsci Monument that somewhat reflects how the project was seen and experienced in the community, including Moten’s sense of it “feeling good” to be there. For me, it’s not surprising that it (the monument, and a sensitive open person’s experience) would have so many ups and downs given the form it took.

I appreciate José Esteban Muñoz’s text on Moten’s poem about the Gramsci Monument and how it breaks down the need to deconstruct, rescue each other from, rebuild and learn to make our own projects – those that are institutionalized or otherwise.

I get a sense that that is also Danny Butt’s intention as applied to education – which is why I am excited to take this workshop.

 

 

. . . . . . .  POSTED 15.07.17 . . . . . . .

Dear Danny (et al)

I am sorry I do not have my reading diary ready for you yet.

A major flood happened in my studio a few days ago and I am overwhelmed trying to do everything I can to manage this disaster and get my place back in order before leaving for Berlin next week.

I promise I am reading the texts and am very excited to be in your workshop!

See you soon!

Gabrielle

 

GUIDELINES:

Briefly explain your understanding of the text(s), what problems they address, which questions they answer (and how) and which ones are left open.

When posting in your blog please use the following title formula:
READING DIARY: Name of Workshop (Teacher Last Name)

Artistic Research in the Era of Globalization” workshop with Danny Butt

READING DIARY: Performing the Archive (Avgitidou)

UPDATE:

I’ve been thinking about the readings and contemplating the variety of ideas, practices and theories presented. Archives and collections fascinate me. And although I didn’t exactly set out to create an archive for my first year project, I did have to figure out a way to track and “store” my collection of invisible things that I was gathering. Just the idea of it brought up so many interesting and complex questions and ideas.

One thing that especially struck me while going through these readings was the realization of how subjective an archive can be. Just as a painter has free rein to rearrange a landscape to meet his or her own personal aesthetic sensibilities, and an editor is able to embellish certain details of history and omit others so as to tell the story he of she wants to tell… archivists too can manipulate the story that’s told through objects in a collection.

While I think the problem with this kind of manipulation of facts/history/artifacts is pretty evident, it’s also interesting to think about how creative and peculiar one can be with an archive, like Tacita Dean and Thomas Hischhorn are doing.

Imagine someone has a large collection of shells or rocks and this person decides it would be a good idea to archive it. There are practically an infinite amount of data points that can be gathered from each specimen – color, size, shape, elemental makeup, date and location of where it was found, etc. But what if the archive focused instead on not the cold, hard, scientific facts, but other, more ephemeral, less concrete details. Like, what if the focus for the archive was to present data on how the person was feeling when the shell was picked up and what exactly was going on in that person’s life at the time? Well, it obviously wouldn’t be an archive one would find in a natural history museum, that’s for sure…

The readings have given me a lot of food for thought and I think the workshop will be especially useful for me as I develop my own archives and start traveling around with my Invisibility Lab.

Thank you for the opportunity to learn more about a topic that has always interested me and makes me excited!

 

POSTED 15 JULY:

Dear Angeliki (et al)

I am sorry I do not have my reading diary ready for you yet.

A major flood happened in my studio a few days ago and I am overwhelmed trying to do everything I can to manage this disaster and get my place back in order before leaving for Berlin next week.

I promise I am reading the texts and am very excited to be in your workshop!

See you soon!

Gabrielle

 

 

 

 

GUIDELINES:

Briefly explain your understanding of the text(s), what problems they address, which questions they answer (and how) and which ones are left open.

When posting in your blog please use the following title formula:
READING DIARY: Name of Workshop (Teacher Last Name)

Performing the archive” workshop with Angeliki Avgitidou

READING DIARY: Dis/placement and art (Marcevska)

Of all the readings, I’m most interested in Shahram Khosravi’s Engaging Anthropology: An Auto-Ethnographic Approach piece. I was first introduced to auto-ethnography when you (Elena) were advising me over the first year of my MFA program. While I didn’t quite understand it at first, I have found this writing style to be among the most interesting forms of writing ~ and I’m grateful for your introduction to the form. 🙂

Shahram Khosravi’s work especially interests me for two reasons. First, because he utilizes socially engaged art projects to research, share, and educate people in the public sphere and within the institutions he has access to (academia & the state). Secondly, because he writes about “what emerges from the space in between.”

THE SPACE IN BETWEEN is an idea I think about regularly. Originally through a young adult novel with the same title written by a playwright friend of mine which I began reading at the same time I was composing a song about my mother’s suicide in which the phrase started to emerge.

Also, as Khosravi talks about, he expresses his sense of feeling caught in the gap between

While I’m not a migrant or a nomad, I have often felt a sense of “unfittingness and unbelongingness” in the places I have inhabited. And for similar, parallel reasons, I feel like I live in the spaces between the normal, “accepted” ways of being and a totally different, unconventional way of existing. While my experiences and ways of existing bear little to no resemblance to that of which Khosrabi speaks of (since I am white, American, and ostensibly privileged and free to go where I like) it is more of a psychological gap where I feel a sense of “unfittingness and unbelongingness”.

I’m wondering if the writings I’m doing for my Archive of Invisibility may fall into the category of auto-ethnography, or are rather simply, spontaneous stream-of-consciousness writing…? I suspect it is the latter, but I would like to utilize the form of auto-ethnographic writing for the Invisibility Lab reports as they are written over Year 2.

COMFORT

JOY

AIR

 

New terms I’ve learned in this reading:

Public intellectual

Street academia

Public anthropology

Engaged anthropology

 

 

. . . . . . . . POSTED 15 JULY 2017 . . . . . . .

Dear Elena (et al)

I am sorry I do not have my reading diary ready yet.

A major flood happened in my studio a few days ago and I am overwhelmed trying to do everything I can to manage this disaster and get my place back in order before leaving for Berlin next week.

I promise I am reading the texts and am very excited to be in your workshop!

Will see you soon!

Gabrielle

 

 

 

 

GUIDELINES:

Briefly explain your understanding of the text(s), what problems they address, which questions they answer (and how) and which ones are left open.

When posting in your blog please use the following title formula:
READING DIARY: Name of Workshop (Teacher Last Name)

Dis/placement and art” workshop with Elena Marchevska