bolwerK rescource framework

This post had been up some weeks ago, briefly, but for the sake of not ruining the experience of potential gallery visitors I took it down; so here it is again…

http://www.frieze.com/blog/entry/tino_sehgal_at_jan_mot_gallery_or_not/

An article about Tino Sehgal by Jörg Heiser

Perhaps the most radical political project would be to consider art as political, and pleasure as edifying. Then we may be able to see how these things can work in concert, as active political processes of learning and teaching without distance, as collective projects for the increase of joy.

by Anthony Marcellini

Not Going the Distance: Reflections on Bertolt Brecht and Binary Thinking Brought up in the 11th International Istanbul Biennial.

http://www.republicart.net/disc/aap/cvejic01_en.htm

Bojana Cvejić 01/2005

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http://thepiratebay.org/torrent/5158063/%5B1979%5D_Stalker_-_Andrei_Tarkovsky

Russian director Andrei Tarkovsky’s Stalker, an allegorical science fiction film like his earlier Solaris, was adapted from the novel Picnic by the Roadside by brothers Boris Strugatsky and Arkady Strugatsky. The film follows three men — the Scientist (Nikolai Grinko), the Writer (Anatoliy Solonitsyn), and the Stalker (Alexander Kaidanovsky) — as they travel through a mysterious and forbidden territory in the Russian wilderness called the “Zone.” In the Zone, nothing is what it seems. Objects change places, the landscape shifts and rearranges itself. It seems as if an unknown intelligence is actively thwarting any attempt to penetrate its borders. In the Zone, there is said to be a bunker, and in the bunker: a magical room which has the power to make wishes come true. The Stalker is the hired guide for the journey who has, through repeated visits to the Zone, become accustomed to its complex traps, pitfalls, and subtle distortions. Only by following his lead (which often involves taking the longest, most frustrating route) can the Writer and the Scientist make it alive to the bunker and the room. As the men travel farther into the Zone, they realize it may take something more than just determination to succeed: it may actually take faith. Increasingly unsure of their deepest desires, they confront the room wondering if they can, in the end, take responsibility for the fulfillment of their own wishes.

An essay

We Live in Public is the story of the Internets revolutionary impact on human interaction as told through the eyes of Internet pioneer and visionary…

http://www.weliveinpublicthemovie.com/

ANDREA FRASER

1991

The New York art gallery is installed with an exhibition of approximately 100 of Allan McCollum’s Plaster Surrogates. The objects, which have black centers, white mats, and frames in shades of red, are hung in a single continuous row that wraps around three of the gallery’s walls.

Seated behind a desk along the south wall of the exhibition space are three performers who constitute “The Staff.” They are “busy” with what looks like gallery business hidden behind a low, white, plaster-board wall.

A visitor enters the gallery and makes her way to the center of the exhibition space. As the visitor begins to look at the exhibition, one member of The Staff gets up, walks over and begins to speak

1.

http://home.att.net/~artarchives/mayihelpyou.html

http://en.sevenload.com/videos/OhedvzX-12-second-English-Idioms-Grey-area

H. Baert:

ENG/

a grey zone is a space of potentiality. It’s a process-oriented zone with a focus on action. It’s a dynamic zone where information, ideas, research and work are exchanged. The grey zone is collaborative and networked. It asks for participation from other artists and art forms, spectators, visitors and the one passing by.

It questions the existing structures, logic and institutions, haw ever it doesn’t have the institutional critique as only reason of existing. It’s a zone that attempts to be flexible and transparant and operates outside the traditional boundaries or definitions.

A conscious noise in the margin.

http://www.metropolism.com/magazine/2008-no1/english

Metaphors are useful. They make you see things. Take ‘The world is a stage’ for example. It’s just a picture. But it allows you to observe the ‘roles’ we play when we engage in social life.

read more…

Some background from the University of Chicago; theories of media; keywords glossary

Grey zone: Exploring what’s between “socially imposed scripted performances” and the realization of “the body as a self-actualizing text”

Networked: a (networked_book) about (networked_art) INVITES YOU TO PARTICIPATE: Two years in the making, Networked: a (networked_book) about (networked_art) is now open for comments, revisions, and translations.

The Immediated Now: Network Culture and the Poetics of Reality

Network culture is not limited to digital technology or to the Internet but rather is a broad sociocultural shift. Under network culture both art and everyday life take mediation as a given. Life becomes performance, taking place in a culture of exposure in exchange for self-affirming feedback from the net. This chapter explores the role of this poetics of the real in cultural production from YouTube to the gallery. The new poetics of reality is not the traditional realism. Earlier codes are replaced by immediacy, self-exposure, performance, and remix.

http://www.mediaartplatform.org/blog/sandra-fauconnier

LECTURE ON MOVING

O.K. let’s begin. The first decision to make is whether you are performer or audience. Half of the group today is audience and half is performer. That is the first thing you must decide on the basis of half and half. If you have chosen to be audience, please sit or stand along the periphery of the available space or along the walls. (…)

> PEOPLE PLAN <

Aspen no. 8, item 8

Yvonne Rainer, US | b. 1934