Music in Mustpeade maja. (Interesting how words themselves have a musical dimension to them. Mmm.)
Arthur C. Clarke once said: "The limits of the possible can only be defined by going beyond them into the impossible." This is the heart of all exploration, I believe. And music offers a beautiful terrain to explore.
The journey began with Kannel Revisited by Anna-Liisa Eller (http://elia-artschools.org/festival/work/kannel-revisited). It was a performance based not on repertoire, but on sounds. Anna-Liisa spent half an hour showing the audience the beauty of what a kannel can do. Like a small child feverishly at play, only with years of experience, excellent instruments and technology, and superb aesthetic sense. I will never look at another kannel (or any instrument, for that matter) in quite the same way again.
Next came Pram Tak Mir by Sander Saarmets (http://elia-artschools.org/festival/work/pram-tak-mir), which might be described as a piece written for a violin and a tram or an experimental audio-visual violin piece inspired by trams. In a word: trippy. I especially enjoyed the first part, where the score was visualized on a screen so the listener-viewers could see the music. It was like watching someone creating every intricate detail of the sound a tram makes. When God created sounds, he most probably used a similar method.
In Kanuti, I saw Hole by Wojtek Pustola (http://elia-artschools.org/festival/work/hole). It put me at a strange ease for some reason. The scenery and the feeling of flying as a golf ball gave me a weird sense of liberation. I wonder if this is how the golf ball felt when Wojtek and his father and grandfather talked to it about themselves and their relationships. I hope so. I mean why shouldn't golf balls be allowed to experience art?
Especially when it's all gathered in one place like right now during the NeuNow LIVE festival in Tallinn. Oh do experience some of it for yourself. You can thank me later.
Sunday, November 20, 2011
In the beginning there was art
In the graphic novel "Watchmen," one of the main characters asks another (with almost godly powers, including foresight) whether his actions were right in the end. The reply: "In the end? Nothing ever ends." Would that also mean that nothing ever begins?
But begin NeuNow LIVE did, in KUMU on a late Friday afternoon (18.11.2011, to be precise).
As is custom, there words were said. I liked the words. They were spoken by the people behind or right in the heart of the festival and they were brief and sincere.
Crossing borders seemed to be the idea of the day and I believe quite a few borders were crossed in Entrance With Charge by Les Filles Föllen (Tuixen Benet & Margherita Bergamo http://elia-artschools.org/festival/work/entrance-with-charge-two-girls-smoke-a-cigarette-in-only-30-seconds)
The performance itself was a part of last years festival in Nantes and used as a bridge to connect the two festivals. But when it comes to writing about the two girls with their cigarettes and long-long legs, I find myself at a loss for words here. How do You adequately describe an artistic experience? There are words that come to mind, like dance, sex, symbol, smoke, society, pretty, intense, legs, hair, art, but do these help or hinder your understanding of my experience? If I say little, then I leave the door open for many different interpretations, but also risk remaining vague. If I say much, I paint clearer pictures, but risk simplifying something that is meant to broaden our minds.
So, You'll most likely be much better off experiencing all the art for yourself. Yes, that seems like a good plan. You won't regret it, honestly.
But begin NeuNow LIVE did, in KUMU on a late Friday afternoon (18.11.2011, to be precise).
As is custom, there words were said. I liked the words. They were spoken by the people behind or right in the heart of the festival and they were brief and sincere.
Crossing borders seemed to be the idea of the day and I believe quite a few borders were crossed in Entrance With Charge by Les Filles Föllen (Tuixen Benet & Margherita Bergamo http://elia-artschools.org/festival/work/entrance-with-charge-two-girls-smoke-a-cigarette-in-only-30-seconds)
The performance itself was a part of last years festival in Nantes and used as a bridge to connect the two festivals. But when it comes to writing about the two girls with their cigarettes and long-long legs, I find myself at a loss for words here. How do You adequately describe an artistic experience? There are words that come to mind, like dance, sex, symbol, smoke, society, pretty, intense, legs, hair, art, but do these help or hinder your understanding of my experience? If I say little, then I leave the door open for many different interpretations, but also risk remaining vague. If I say much, I paint clearer pictures, but risk simplifying something that is meant to broaden our minds.
So, You'll most likely be much better off experiencing all the art for yourself. Yes, that seems like a good plan. You won't regret it, honestly.
Thursday, November 17, 2011
Kinomaja
Ooh, modern film! There was a whole bunch of it on display at Kinomaja today! (Such a bunch, that I am not even sure I can locate all of the names and links for You, but You can watch me try at the end of the post) Fear not, movielovers of today! We are in good hands!
There were animations, documentaries, mini-movies and everything in between. How did all of that fit into an hour? Ah, 'tis the magic of cinema You see. It gives You whole worlds in a mere hour. Oh, and what worlds!
There was Kafka, Hip-Hop, parkour, religion, art, colonialism, death, relationships. I found myself wanting to escape my day-job (well, if I had one), craving watermelons, yearning to create a private space, feeling a near irresistible urge to climb houses, contemplating on the role of religion in our lives and personal truths and much much more.
Art is a great way find questions You would most likely never ask on your own, at least not in the same form or from the same angle. Like walking into an airport and pressing the shuffle button.
Whoosh. Difficult describe the merry mixture of thoughts and emotions whirling around in my head after the screening. All I know is that I felt different, or the World felt different. I was seeing everything from a place of calm, contemplation and aesthetics. A paraphrase of Chuck Palahniuk came to mind: after art, everything in life has its volume turned down. Really.
So, if You are at all interested in modern cinema, do check out what NeuNow LIVE festival has to offer! (more information at http://neunow.com/)
(Ah yes, You wanted to know which movies were shown? Well, here goes:
The New and the Other by Joseph Carauna (http://elia-artschools.org/festival/work/the-new-and-the-other)
Subliminal Mind by Alya Manzart (http://elia-artschools.org/festival/work/subliminal-mind)
Störfaktor by Manuel Wiedemann (http://elia-artschools.org/festival/work/strfaktor)
Menu by Daniel Djamo (http://elia-artschools.org/festival/work/menu)
Packed Like Sardines by Stella Salumaa (http://elia-artschools.org/festival/work/packed-like-sardines)
Ticho by Slawomir Zrebny (http://elia-artschools.org/festival/work/ticho)
Karet by Shira Pinczuk (http://elia-artschools.org/festival/work/karet)
Occidental Totems bu Sebastian Berthier (http://elia-artschools.org/festival/work/occidental-totems)
And I still think I missed some)
There were animations, documentaries, mini-movies and everything in between. How did all of that fit into an hour? Ah, 'tis the magic of cinema You see. It gives You whole worlds in a mere hour. Oh, and what worlds!
There was Kafka, Hip-Hop, parkour, religion, art, colonialism, death, relationships. I found myself wanting to escape my day-job (well, if I had one), craving watermelons, yearning to create a private space, feeling a near irresistible urge to climb houses, contemplating on the role of religion in our lives and personal truths and much much more.
Art is a great way find questions You would most likely never ask on your own, at least not in the same form or from the same angle. Like walking into an airport and pressing the shuffle button.
Whoosh. Difficult describe the merry mixture of thoughts and emotions whirling around in my head after the screening. All I know is that I felt different, or the World felt different. I was seeing everything from a place of calm, contemplation and aesthetics. A paraphrase of Chuck Palahniuk came to mind: after art, everything in life has its volume turned down. Really.
So, if You are at all interested in modern cinema, do check out what NeuNow LIVE festival has to offer! (more information at http://neunow.com/)
(Ah yes, You wanted to know which movies were shown? Well, here goes:
The New and the Other by Joseph Carauna (http://elia-artschools.org/festival/work/the-new-and-the-other)
Subliminal Mind by Alya Manzart (http://elia-artschools.org/festival/work/subliminal-mind)
Störfaktor by Manuel Wiedemann (http://elia-artschools.org/festival/work/strfaktor)
Menu by Daniel Djamo (http://elia-artschools.org/festival/work/menu)
Packed Like Sardines by Stella Salumaa (http://elia-artschools.org/festival/work/packed-like-sardines)
Ticho by Slawomir Zrebny (http://elia-artschools.org/festival/work/ticho)
Karet by Shira Pinczuk (http://elia-artschools.org/festival/work/karet)
Occidental Totems bu Sebastian Berthier (http://elia-artschools.org/festival/work/occidental-totems)
And I still think I missed some)
Disaini- ja Arhitektuurigalerii
Went to Disaini- ja Arhitektuurigalerii today and I liked it. Especially the part where I started to get answers (or to be specific: the artists' versions of them) to many of the questions I had (many of which I've already posted here as well), but I'm getting ahead of myself.
The first thing You notice when stepping in is pillows. But not just ordinary pillows, super-duper high-tech space-age material state-of-the art totally ergonomically designed pillows, which are approved by all kinds of independent (and probably some dependent) medical specialists. And they're also black and yellow, which just looks really cool. This is Zuzana Šišovská's Collection of relaxation interior accessories (http://elia-artschools.org/festival/work/collection-of-relaxation-interior-accessories).
Next up is Lauri Hirvesaar's Electric Cargoscooter (http://elia-artschools.org/festival/work/electric-cargoscooter). If anyone ever asks You, why the hell do we spend taxpayer money on oh, I don't know, the Art Academy, show them this. In a world where innovation is becoming a necessity for survival yet educational systems do little to produce original thinking, we desperately need people who can come up with creative solutions for our daily problems. This is one of them.
A quick turn around the corner and voilá: The Opera "Varieties of Religious Experience"- a Performance on Pages by Agnes Steiner (http://elia-artschools.org/festival/work/the-opera-varieties-of-religious-experiencea-performance-on-pages). I can freely admit I am completely biased on this one, for I have a soft spot for well-designed books. But this one also comes packed with a musical performance. I mean, why not fit an entire opera (the music, the feelings and all) into a book?
And now we come to Filippa Hanzon's You Gonna Find What You Search (http://elia-artschools.org/festival/work/you-gonna-find-what-you-search). An interesting experimental twist on the Schrödinger's Cat. Is there or is there not someone playing music in the box? I hear music, but it could also be recorded. But as long as I hear and can't tell the difference, does it matter? It is almost as if there is someone and no-one in the box at the same time. To experience a dilemma of this caliber in real life is a most interesting feeling, much more so than I would have expected.
And last, but not least, the live performance by Sarah Armstrong and Richard Moizer: Integrated (http://elia-artschools.org/festival/work/integrated). I could probably just say that You are going to see a dance with two people squashing themselves against a window together and You would already come running, but that is most definitely not all (although the squashing was cool). Integrated is a performance that is difficult to pinpoint and raises many interesting questions about dualities, relationships and change, but to get the effect, You will just have to see it. (Oh, and as the cherry on the cake, the dancers also seemed to have switched their accents (based on my expectations based on family names at least): Ms. Armstrong wielding a cute Danish accent and Mr. Moizer speaking pure British. Must have been all the Integrating they were doing.)
But my favourite part was the discussion with the artists. I had all these questions about art and wouldn't You know, some talented young people had thought about the same questions (I hear it happens that one starts to ask questions about art when one is doing art) and kindly answered them. It's really interesting to see the faces and voices behind the art. Turns out they're people! Just like You and me, more or less. I can almost believe Da Vinci or Mozart really existed now! I wonder what they'd have thought about the art and music scene of today? Hmm, guess well never know, but if You want to form Your own opinion or answer (or ask) a load of interesting questions or just enjoy modern art, do visit the LIVE festival! (more information at http://neunow.com/)
The first thing You notice when stepping in is pillows. But not just ordinary pillows, super-duper high-tech space-age material state-of-the art totally ergonomically designed pillows, which are approved by all kinds of independent (and probably some dependent) medical specialists. And they're also black and yellow, which just looks really cool. This is Zuzana Šišovská's Collection of relaxation interior accessories (http://elia-artschools.org/festival/work/collection-of-relaxation-interior-accessories).
Next up is Lauri Hirvesaar's Electric Cargoscooter (http://elia-artschools.org/festival/work/electric-cargoscooter). If anyone ever asks You, why the hell do we spend taxpayer money on oh, I don't know, the Art Academy, show them this. In a world where innovation is becoming a necessity for survival yet educational systems do little to produce original thinking, we desperately need people who can come up with creative solutions for our daily problems. This is one of them.
A quick turn around the corner and voilá: The Opera "Varieties of Religious Experience"- a Performance on Pages by Agnes Steiner (http://elia-artschools.org/festival/work/the-opera-varieties-of-religious-experiencea-performance-on-pages). I can freely admit I am completely biased on this one, for I have a soft spot for well-designed books. But this one also comes packed with a musical performance. I mean, why not fit an entire opera (the music, the feelings and all) into a book?
And now we come to Filippa Hanzon's You Gonna Find What You Search (http://elia-artschools.org/festival/work/you-gonna-find-what-you-search). An interesting experimental twist on the Schrödinger's Cat. Is there or is there not someone playing music in the box? I hear music, but it could also be recorded. But as long as I hear and can't tell the difference, does it matter? It is almost as if there is someone and no-one in the box at the same time. To experience a dilemma of this caliber in real life is a most interesting feeling, much more so than I would have expected.
And last, but not least, the live performance by Sarah Armstrong and Richard Moizer: Integrated (http://elia-artschools.org/festival/work/integrated). I could probably just say that You are going to see a dance with two people squashing themselves against a window together and You would already come running, but that is most definitely not all (although the squashing was cool). Integrated is a performance that is difficult to pinpoint and raises many interesting questions about dualities, relationships and change, but to get the effect, You will just have to see it. (Oh, and as the cherry on the cake, the dancers also seemed to have switched their accents (based on my expectations based on family names at least): Ms. Armstrong wielding a cute Danish accent and Mr. Moizer speaking pure British. Must have been all the Integrating they were doing.)
But my favourite part was the discussion with the artists. I had all these questions about art and wouldn't You know, some talented young people had thought about the same questions (I hear it happens that one starts to ask questions about art when one is doing art) and kindly answered them. It's really interesting to see the faces and voices behind the art. Turns out they're people! Just like You and me, more or less. I can almost believe Da Vinci or Mozart really existed now! I wonder what they'd have thought about the art and music scene of today? Hmm, guess well never know, but if You want to form Your own opinion or answer (or ask) a load of interesting questions or just enjoy modern art, do visit the LIVE festival! (more information at http://neunow.com/)
Monday, November 14, 2011
The Burdens of Miss Betsy by Rebecca Helen Page (http://elia-artschools.org/festival/work/the-burdens-of-miss-betsy or in the Kullo gallery in Tallinn during the LIVE festival). Viewer participation is always at its most interesting when done in a theatrical setting. When done in other art forms it is a lot less personal. Interacting with a picture does not compare with interacting with a human. I've always wondered how emotions that are experienced during a performance differ from emotions experienced in "real life." (which is in itself strange, for art is also a part of real life, but lets stick to the topic at hand) What is the difference between the sorrow felt for an imaginary character and a real person? How much do the lines blur if the character starts to interact with You? What kind of real does our brain make a character when he or she suddenly comes to life? Luckily we'll have a chance to find out during the LIVE festival in the Kullo gallery.
But an altogether different type of participation is bringing a deceased artist back to life to explain how one of his most famous works came to be and how it was later mutilated, as is the case with the sculptor Jacob Epstein in Occidental Totems by Sebastian Berthier (http://elia-artschools.org/festival/work/occidental-totems or come see it in Kinomaja during the LIVE festival in Tallinn). I truly like the idea, I've always enjoyed immersion, especially when one can learn something in the process. Education, take note!
But an altogether different type of participation is bringing a deceased artist back to life to explain how one of his most famous works came to be and how it was later mutilated, as is the case with the sculptor Jacob Epstein in Occidental Totems by Sebastian Berthier (http://elia-artschools.org/festival/work/occidental-totems or come see it in Kinomaja during the LIVE festival in Tallinn). I truly like the idea, I've always enjoyed immersion, especially when one can learn something in the process. Education, take note!
Sunday, November 13, 2011
where's the puss by Carolin Weinert (http://elia-artschools.org/festival/work/wheres-the-puss or in real life during the LIVE festival in the Kullo gallery in Tallinn). A serious subject matter rendered with a twist. And cats. Always good to have cats.
Interesting how art has turned from pure aesthetics to works criticism and conscience. The aesthetics is usually still there, but rarely do we see beauty for the sake of beauty these days. I have friends who are studying art or making art and I can't think of the last time I heard one of them say: "I think I'll just make something beautiful today." Nope, making something meaningful is much more important. Something that will change the world for the better (or at least show how messed up everything is for starters). Reminds me of something my old theatre teacher used to say: "Changing the world with art is like hammering a nail into the wall with a telephone: it can be done, but there are much easier ways to do it." Still, it is a noble cause and each of us must use the toys the gods have given us I suppose.
I think music (especially classical music) has still mostly retained its purely aesthetic function. Although many songs have played key roles in revolutions, the majority of music is made purely for your listening pleasure. Like The Bridge of Music: From Lithuania to Estonia by Trio CLAVIOLA (http://elia-artschools.org/festival/work/the-bridge-of-music-from-lithuania-to-estonia or live on 19.11. at 15:00 during the LIVE festival in Mustpeade maja, Tallinn), which is a chamber music concert. Sure, they have a clear artistic statement, but it is not in any way political. They just want to play a few great (but rarely-heard) pieces of music for their audience's listening pleasure and to help everyone relax. Splendid!
But like any rule, this also comes with a few exceptions. Take Pram Tak Mir by Sander Saarmets (http://elia-artschools.org/festival/work/the-bridge-of-music-from-lithuania-to-estonia or live in Tallinn during the LIVE festival on 20.11. at 14:00 in Mustpeade maja). The first thing You should know, is that it's musical material is derived from trams moving past the composers current residence. Yes, You read correctly. Trams. Which really changed the way I started to look (or listen, to be more specific) at trams. That's another wonderful thing art does sometimes: it makes one see (or hear) things differently. It offers an alternative viewpoint, something most people would never think of themselves. Very educational, in a truly good sense of the word.
Interesting how art has turned from pure aesthetics to works criticism and conscience. The aesthetics is usually still there, but rarely do we see beauty for the sake of beauty these days. I have friends who are studying art or making art and I can't think of the last time I heard one of them say: "I think I'll just make something beautiful today." Nope, making something meaningful is much more important. Something that will change the world for the better (or at least show how messed up everything is for starters). Reminds me of something my old theatre teacher used to say: "Changing the world with art is like hammering a nail into the wall with a telephone: it can be done, but there are much easier ways to do it." Still, it is a noble cause and each of us must use the toys the gods have given us I suppose.
I think music (especially classical music) has still mostly retained its purely aesthetic function. Although many songs have played key roles in revolutions, the majority of music is made purely for your listening pleasure. Like The Bridge of Music: From Lithuania to Estonia by Trio CLAVIOLA (http://elia-artschools.org/festival/work/the-bridge-of-music-from-lithuania-to-estonia or live on 19.11. at 15:00 during the LIVE festival in Mustpeade maja, Tallinn), which is a chamber music concert. Sure, they have a clear artistic statement, but it is not in any way political. They just want to play a few great (but rarely-heard) pieces of music for their audience's listening pleasure and to help everyone relax. Splendid!
But like any rule, this also comes with a few exceptions. Take Pram Tak Mir by Sander Saarmets (http://elia-artschools.org/festival/work/the-bridge-of-music-from-lithuania-to-estonia or live in Tallinn during the LIVE festival on 20.11. at 14:00 in Mustpeade maja). The first thing You should know, is that it's musical material is derived from trams moving past the composers current residence. Yes, You read correctly. Trams. Which really changed the way I started to look (or listen, to be more specific) at trams. That's another wonderful thing art does sometimes: it makes one see (or hear) things differently. It offers an alternative viewpoint, something most people would never think of themselves. Very educational, in a truly good sense of the word.
Thursday, November 10, 2011
of-pixels by Richard Schwarz (http://elia-artschools.org/festival/work/ofpixels) raises the topic of time. Time is a fascinating thing. Every moment consists of time and we would not exist without it (or at least we can't comprehend what we would do if there weren't any flow of time, for there is no doing without time, every action has a duration). Time is in a sense the only real currency each and every one of us is given and we must spend it wisely.
And on another note: why does time flow forward? If I remember correctly, there is no valid explanation for why time should only flow in one direction. As far as physics is concerned, time might as well go backwards. But we all know it doesn't (although we might feel like it does from time to time).
Time (in it's not so existential sense) has also played a very important role in the history of art. Firstly obviously because there would be no history without time, but what I really meant was the role time has been given as a judge. One of the safest ways to determine good or great art is to see what perseveres through the trial of time. Wait a minute (ah, again with the puns), but time does not have any real consciousness now(or at any other moment for that matter), does it? It does not make any decisions, You say? Well who or what does then? We, the people? All right, making sense thus far, but who exactly? The Ministry of Culture? Artists themselves? The audience? School curriculums? Or is it all a bit random? Hmm, getting trickier. Oh well, maybe time shall reveal the answer.
And on another note: why does time flow forward? If I remember correctly, there is no valid explanation for why time should only flow in one direction. As far as physics is concerned, time might as well go backwards. But we all know it doesn't (although we might feel like it does from time to time).
Time (in it's not so existential sense) has also played a very important role in the history of art. Firstly obviously because there would be no history without time, but what I really meant was the role time has been given as a judge. One of the safest ways to determine good or great art is to see what perseveres through the trial of time. Wait a minute (ah, again with the puns), but time does not have any real consciousness now(or at any other moment for that matter), does it? It does not make any decisions, You say? Well who or what does then? We, the people? All right, making sense thus far, but who exactly? The Ministry of Culture? Artists themselves? The audience? School curriculums? Or is it all a bit random? Hmm, getting trickier. Oh well, maybe time shall reveal the answer.
Nyctophobia by Milena Tähkäaho (http://elia-artschools.org/festival/work/nyctophobia) asks various interesting questions about sight and what happens without it. I want to ask some more questions. Mainly, why is art usually so visual? Ok, sound often also plays an important role, but what about our other senses? Most forms of art are touchable (even if it is not advised to touch them), but usually not meant to be experienced through touch, if only as a secondary or tertiary level of connecting with the work at hand. And what about smell? We have a huge perfume industry, but do not consider perfumes art, do we? I would personally look very positively towards a work of art aimed at educating my others senses and furthering their aesthetic possibilities. Imagine having an alphabet of smells for instance. That might open up some really interesting possibilities.
Thursday, November 3, 2011
How much must an artist be involved in the creation process to consider the work to be his or hers? Take Amebas by Lasse Ursin (http://elia-artschools.org/festival/work/amebas) for instance. He created a machine that paints whenever a viewer approaches it. Sure, he made the machine, but he did not paint anything himself. Does that make him the engineer, who built the machine, or the artist, who created the art? And does it matter, as long as the result is aesthetically pleasing and thought-provoking?
The same question arises when considering ... by Tapio Oksa (http://elia-artschools.org/festival/work/) and Rapport 1984 by Aurore (http://elia-artschools.org/festival/work/rapport-1984), or any installation for that matter. The effect and aesthetics are there, but where is the artist? I know someone built this machine, but where is he? Where is the creator and his aura? And why is the hand that held the screwdriver different from the hand that held the brush or camera?
Why am I asking all these questions? Who knows. Probably all the art has started to kick in.
The same question arises when considering ... by Tapio Oksa (http://elia-artschools.org/festival/work/) and Rapport 1984 by Aurore (http://elia-artschools.org/festival/work/rapport-1984), or any installation for that matter. The effect and aesthetics are there, but where is the artist? I know someone built this machine, but where is he? Where is the creator and his aura? And why is the hand that held the screwdriver different from the hand that held the brush or camera?
Why am I asking all these questions? Who knows. Probably all the art has started to kick in.
La Vie est Douce by Sorin Eugen David (http://elia-artschools.org/festival/work/-la-vie-est-douce-) is sweet. Literally. What is it about food pictures that makes us go bananas? (pardon the pun) Is food not just another prerequisite for living? We don't go nuts about pictures of air. On the other hand, maybe food is more like sex, a bodily craving made thoroughly enjoyable by evolution, because it is extremely valuable (instrumental even) for our survival. But why isn't breathing as pleasurable as eating or sex? Hmm, I'll probably lose some sleep over this one.
Where is art on the pleasure scale? Some people claim that artistic enjoyment is much higher than any other joy, while others swear by sex, candy and dancing. Well, art is certainly a different type of pleasure and most people enjoy it in some form or another, but I don't think many would exchange it for food and other bodily delights. Truly committed artists are a rare breed. Seems like multitasking wins this round.
And when talking about beauty, one cannot ignore nature. When has nature ever gotten a colour or a shape wrong? Take that, artists! An interesting angle on the subject is offered by Land(e)scape by Eline Cautreels (http://elia-artschools.org/festival/work/landescape), which challenges the way we normally perceive beautiful landscapes, proving that beauty is in the eye of the artist.
Where is art on the pleasure scale? Some people claim that artistic enjoyment is much higher than any other joy, while others swear by sex, candy and dancing. Well, art is certainly a different type of pleasure and most people enjoy it in some form or another, but I don't think many would exchange it for food and other bodily delights. Truly committed artists are a rare breed. Seems like multitasking wins this round.
And when talking about beauty, one cannot ignore nature. When has nature ever gotten a colour or a shape wrong? Take that, artists! An interesting angle on the subject is offered by Land(e)scape by Eline Cautreels (http://elia-artschools.org/festival/work/landescape), which challenges the way we normally perceive beautiful landscapes, proving that beauty is in the eye of the artist.
Please do forgive me for forgetting, but I have been rather worried lately by Amy Brooks (http://elia-artschools.org/festival/work/please-do-forgive-me-for-forgetting-but-i-have-been-rather-worried-lately).
I just found out how much today's hectic lifestyle has really affected me. I looked at the emptying jar of honey and wanted to scream. I just could not make myself look at (or even think of, for that matter) something moving so slowly. Awful! Not the slowness, but the fact that I am not able to tolerate it. Is there some sort of counseling or group therapy? There is? Oh yeah, the Slow Movement.
I bet Jarmil (from the project of the same name by Jakob Jurdic (http://elia-artschools.org/festival/work/jarmil)) would have no problem looking at a jar of honey emptying for hours and hours. I often find myself wanting to one day become someone like Jarmil. Life would be so simple. For some unknown reason, I have always had a tremendous amount of respect for people who just do their thing. They have found the one thing (however small) that makes them happy and they spend their days doing just that. I think that is probably how we were all meant to function, we just woke up one day and decided to forget what we were supposed to do and started doing whatever came to mind and now God looks down from up above and shakes his head at another perfect wrestler trying to become a nuclear physicists. Oh well, why the heck not.
I just found out how much today's hectic lifestyle has really affected me. I looked at the emptying jar of honey and wanted to scream. I just could not make myself look at (or even think of, for that matter) something moving so slowly. Awful! Not the slowness, but the fact that I am not able to tolerate it. Is there some sort of counseling or group therapy? There is? Oh yeah, the Slow Movement.
I bet Jarmil (from the project of the same name by Jakob Jurdic (http://elia-artschools.org/festival/work/jarmil)) would have no problem looking at a jar of honey emptying for hours and hours. I often find myself wanting to one day become someone like Jarmil. Life would be so simple. For some unknown reason, I have always had a tremendous amount of respect for people who just do their thing. They have found the one thing (however small) that makes them happy and they spend their days doing just that. I think that is probably how we were all meant to function, we just woke up one day and decided to forget what we were supposed to do and started doing whatever came to mind and now God looks down from up above and shakes his head at another perfect wrestler trying to become a nuclear physicists. Oh well, why the heck not.
Wednesday, November 2, 2011
Perhaps we have created ourselves a society, where we have so much of, well, everything that what everyone truly needs is less of everything. There are so many different truths floating around out there, that having to make one's own decisions has become a scary prospect.
Does art help us or hinder us in this battle of myths, narratives and viewpoints?
Possibly a bit of both. To paraphrase good ol' Soc: finding one's truth is a hard journey, but worst of all is beginning and being left somewhere in the middle. This is why he suggests everyone take a good deep look in the mirror before beginning any quest for truth.
But does modern art even attempt to speak the truth? Or has the relativization of cultures completed it's mission of banishing all absolutes? Interestingly, quite the opposite seems to hold true in Neu/Now.
A good example dealing with this question might be Index by Daniel Djamo (http://elia-artschools.org/festival/work/index), who is uncovering the true story of what happened in Romania in 1989 by gathering as many eyewitness reports as possible.
National Folklorism by Jan Pötter (http://elia-artschools.org/festival/work/nationalfolklorismus-national-folklorism) is also an almost classic example of using kitsch and parody to drive through a anti-nationalist message.
On the other hand, Grey Eminence by Jenni E. Sormunen (http://elia-artschools.org/festival/work/grey-eminence) is (for me at least) a clear move away from a black-and-white worldview to, well, a more grey outlook. (Not sure if pun intended or not. If You insist on it being one, You shall hear no protests from me.)
Does art help us or hinder us in this battle of myths, narratives and viewpoints?
Possibly a bit of both. To paraphrase good ol' Soc: finding one's truth is a hard journey, but worst of all is beginning and being left somewhere in the middle. This is why he suggests everyone take a good deep look in the mirror before beginning any quest for truth.
But does modern art even attempt to speak the truth? Or has the relativization of cultures completed it's mission of banishing all absolutes? Interestingly, quite the opposite seems to hold true in Neu/Now.
A good example dealing with this question might be Index by Daniel Djamo (http://elia-artschools.org/festival/work/index), who is uncovering the true story of what happened in Romania in 1989 by gathering as many eyewitness reports as possible.
National Folklorism by Jan Pötter (http://elia-artschools.org/festival/work/nationalfolklorismus-national-folklorism) is also an almost classic example of using kitsch and parody to drive through a anti-nationalist message.
On the other hand, Grey Eminence by Jenni E. Sormunen (http://elia-artschools.org/festival/work/grey-eminence) is (for me at least) a clear move away from a black-and-white worldview to, well, a more grey outlook. (Not sure if pun intended or not. If You insist on it being one, You shall hear no protests from me.)
Strange how at times I feel the need to stress that these are strictly my opinions. Which should be obvious, shouldn't it? Think of how tiring it would be to read a text where every sentence began with "In my opinion" or "I personally think"or something else of the sort.
But why doesn't this happen in art? When we see a work of art with a message, we always presuppose it is clearly a very personal and subjective message the author has in mind, with no real claim for truth. For some reason it is not so when it comes to written works. Perhaps the standardization of fonts is to blame?
Maybe, if everyone could write in their very own personal font, we would not forget that each and every one of us has a rather small and limited (albeit unique and very interesting) point of view and whatever we communicate, we hope to be the truth. This is beautiful thing and when not explicitly claiming to express an absolute truth which all must adhere to, should not be taken as a anything repressive, but rather a step towards freedom. Like another hole poked into a roof, revealing more and more of the sky.
But why doesn't this happen in art? When we see a work of art with a message, we always presuppose it is clearly a very personal and subjective message the author has in mind, with no real claim for truth. For some reason it is not so when it comes to written works. Perhaps the standardization of fonts is to blame?
Maybe, if everyone could write in their very own personal font, we would not forget that each and every one of us has a rather small and limited (albeit unique and very interesting) point of view and whatever we communicate, we hope to be the truth. This is beautiful thing and when not explicitly claiming to express an absolute truth which all must adhere to, should not be taken as a anything repressive, but rather a step towards freedom. Like another hole poked into a roof, revealing more and more of the sky.
It is great to see design has not become so posh as to ignore the daily needs of people altogether. Neu/Now offers a few great examples of young designers choosing problem-solving as the substance of their work.
Elderly eating set by Ana Simona Iliescu (http://elia-artschools.org/festival/work/elderly-eating-set) is a great example of how an issue, which I sadly fear most people would not consider neither "cool" nor sever enough to deal with, can be handled in truly good taste and fashion.
Another great example is Take 'n' Make by Aker Collective (http://elia-artschools.org/festival/work/take-n-make). This is the first time I have heard the term "consumakerism" and I like it! If more of our modern living solutions were customizable, we might produce much less waste, not to mention being able to adapt our living space according to the needs of our fast-paced life, alternating moods and ever-changing fashions, which have come to define this day and age.
A slightly ironic twist on the whole reusing subject is Function Enters Form by Zorko Huljic (http://elia-artschools.org/festival/work/function-enters-form). For me, it both made fun of and applauded the fashion of using objects for a purpose different from the one intended by it's maker. But after all, if the author is dead and we now life in the age of the reader, why should the engineer be spared and the consumer be suppressed. And after all, we have enough stuff any way, maybe what we need is whole generation of "assigners" (instead of designers) as Huljic calls himself.
Elderly eating set by Ana Simona Iliescu (http://elia-artschools.org/festival/work/elderly-eating-set) is a great example of how an issue, which I sadly fear most people would not consider neither "cool" nor sever enough to deal with, can be handled in truly good taste and fashion.
Another great example is Take 'n' Make by Aker Collective (http://elia-artschools.org/festival/work/take-n-make). This is the first time I have heard the term "consumakerism" and I like it! If more of our modern living solutions were customizable, we might produce much less waste, not to mention being able to adapt our living space according to the needs of our fast-paced life, alternating moods and ever-changing fashions, which have come to define this day and age.
A slightly ironic twist on the whole reusing subject is Function Enters Form by Zorko Huljic (http://elia-artschools.org/festival/work/function-enters-form). For me, it both made fun of and applauded the fashion of using objects for a purpose different from the one intended by it's maker. But after all, if the author is dead and we now life in the age of the reader, why should the engineer be spared and the consumer be suppressed. And after all, we have enough stuff any way, maybe what we need is whole generation of "assigners" (instead of designers) as Huljic calls himself.
Photography is an interesting artform. In The Work of Art in the Age of Mechanical Reproduction Walter Benjamin wrote about the fading of the aura which came about when art was no longer an original work of art, but something that could be reproduced. This meant there was no longer one particular original painting or sculpture to be worshipped and adored, for every reproduction of a photo was equally original.
Interestingly, many of the photographic works seen in Neu/Now festival create themselves an altogether different aura by unweaving photography's rainbow and showing what is behind the camera (as seen in the case of Aestheticized Action by Martin Tuma (http://elia-artschools.org/festival/work/aestheticized-action)) or even behind the screen (in the case of Reality Show by Tereza Trautmannova (http://elia-artschools.org/festival/work/reality-show)).
Or in other cases, the subject of the unweaving is something we perceive to be rather real, like nature (the solar followed by the lunar... by Ann Kristin Einarsen (http://elia-artschools.org/festival/work/the-solar-followed-by-the-lunar-followed-by-the-solar-followed-by-the-lunar)) or gender (When men were men by Anna Udoh (http://elia-artschools.org/festival/work/when-men-were-men-)).
In any case, most of the works are always trying to tell us something about our reality, not merely mediate it in an aesthetically pleasing way. Is it truly so, that one can hardly be an artist, if one does not have a message about society, the human condition or art itself? (And yes, the answer does seem quite painfully obvious, now that I have written the question down)
Often I enjoy pictures just because they look pretty. Like I sometimes enjoy songs because they sound good and ignore the lyrics altogether. Why not create things just because they are beautiful? Making the world a beautiful place seems as good a goal as any. And, come to think about it, if it is possible to create beautiful things AND provoke thoughts at the same time, why not do both? Hmm, I think I have stumbled upon my own personal definition of good art.
Interestingly, many of the photographic works seen in Neu/Now festival create themselves an altogether different aura by unweaving photography's rainbow and showing what is behind the camera (as seen in the case of Aestheticized Action by Martin Tuma (http://elia-artschools.org/festival/work/aestheticized-action)) or even behind the screen (in the case of Reality Show by Tereza Trautmannova (http://elia-artschools.org/festival/work/reality-show)).
Or in other cases, the subject of the unweaving is something we perceive to be rather real, like nature (the solar followed by the lunar... by Ann Kristin Einarsen (http://elia-artschools.org/festival/work/the-solar-followed-by-the-lunar-followed-by-the-solar-followed-by-the-lunar)) or gender (When men were men by Anna Udoh (http://elia-artschools.org/festival/work/when-men-were-men-)).
In any case, most of the works are always trying to tell us something about our reality, not merely mediate it in an aesthetically pleasing way. Is it truly so, that one can hardly be an artist, if one does not have a message about society, the human condition or art itself? (And yes, the answer does seem quite painfully obvious, now that I have written the question down)
Often I enjoy pictures just because they look pretty. Like I sometimes enjoy songs because they sound good and ignore the lyrics altogether. Why not create things just because they are beautiful? Making the world a beautiful place seems as good a goal as any. And, come to think about it, if it is possible to create beautiful things AND provoke thoughts at the same time, why not do both? Hmm, I think I have stumbled upon my own personal definition of good art.
It is interesting how almost all works of art these days try to change our worldview. They talk about opening our eyes, shifting our perception, dispelling myths, lifting facades or something in that general direction. But why? Are we to believe the modern world is full of illusions and we have wandered so far into Wonderland that we cannot find our way back without the guidance art so helpfully offers us? And what would we find if all the myths were dispelled, our perceptions shifted and our eyes opened? What is this reality that capitalism has hidden from us?
Maybe we don't want to see the reality any more. Maybe that's why an artists' life is so difficult, because no one wants to be shown "the Truth" (if there is such a thing). Are artists the Don Quixote's of our time? Or maybe they have always been.
In any case Neu/Now offers a great overview of what young artists are up to these days. It feels great to live in a time when all the worlds art is at everyone fingertips, giving rise to a number of rule- and groundbreaking works of art, that dare to ask every possible question without fear of finding the answers, whatever they may be.
Maybe we don't want to see the reality any more. Maybe that's why an artists' life is so difficult, because no one wants to be shown "the Truth" (if there is such a thing). Are artists the Don Quixote's of our time? Or maybe they have always been.
In any case Neu/Now offers a great overview of what young artists are up to these days. It feels great to live in a time when all the worlds art is at everyone fingertips, giving rise to a number of rule- and groundbreaking works of art, that dare to ask every possible question without fear of finding the answers, whatever they may be.
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