Tuesday, 30 November 2010
He has tried to rethink story structures, mixing narratives with images to create new and challenging narratives. Video collages, used material, found images, and narrative structure all play an important part in my project at the moment but he's taken it in a very different direction to me. It's a more intense exercise in Detourement but it's also an exploration into the cosmic and the impossible. If Laumann is taking this entire concept seriously and that he truly believes that the singer of a popular indie group from the 1980's can prophesied the death of a monarchical figure then I'm overwhelmed by his delusions. On the other hand if it's an extremely well thought out and structured joke then it's slightly better but ultimately feels like a joke that has fallen flat. His big mouth shouldn't strike again as it doesn't get him anywhere particularly interesting or funny.
One of the pieces had a small child's play toy which was made of differently coloured columns which had a marble drop from layer to layer. This was fed live and projected onto the wall behind the performance; it was also amplified so there was a continuous circling and gentle dropping sound throughout the track. That piece was particularly hard to separate the sculpture from the sound but I felt like it worked really well and was something me and Andy had spoken about last year when I had a one to one tutorial. I was doing sound and light projections which were more of a type of sound and light sculpture so I found his input very valid.
The sounds which backed up the visuals maybe for me were at points weaker or became stale due to the sounds of violins and cello can grate on me over time. I feel that the overall ideas, sculpture's and spoken words brought it through to a great set of pieces and their entirety was something that I found really interesting and rich.
The book examines the themes of presence and absence, the relationship between photography and theatre, history and death; these 'reflections on photography' begin as an investigation into the nature of photographs. Then as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind.
Sunday, 7 November 2010
One of the stand out piece's for me in this biennial, this being my first, was the Tehching Hsieh 'One Year Performance (1980-1981)-(Time Clock Piece)'. The piece involved Hsieh clocking in on the hour every hour for an entire year. I think the reason why I was so struck by it was the shear scale of the idea and the realisation of the project. I've caught myself thinking about it many times since seeing it and it's warranted repeated views by myself and with others. I also found myself telling friends from home about it and showing them on their recent visit to see me. I think the reason for this level of interest is the fact that I know I could never imagine or tackle a project of this scale. I don't have the discipline or the determination to go through such a high level of monotony or routine. The presentation of the idea was something that I was really taken with as well as it all had an order and schedule, which is something I like. I did realise that as I was walking around and inspecting his time keeping skills I was noticing that he had missed a few of his self imposed deadlines. My first thoughts were "Lazy" which then made me laugh as I realised the level of commitment attached to this idea and for him to miss a few clock In's was only human.