24.12.09
23.12.09
17.12.09
Robert Kusmirowski at the Barbican
Forgive the creekiness, this is my first writing assignment for MFA Computational Arts. I'm not entirely sure how any of this works right now...
Robert Kusmirowski
'Bunker'
The Barbican Curve Space.
23.11.09
Hestia Peppe
Animism. Things and collecting them. Nostalgia of matter. Collective memory. Relationship to the narratives of preceding generations.
Architecture of /from dreams.
My first thoughts on entering the installation are that these objects have real histories of their own which are overwritten by greater narratives of History. Both are 'true' but perhaps do not pertain equally to the physical objects and the conceptual content of the work. There is this uncomfortable relationship between a plurality of histories competing for my attention.
Small instances of glitch occur throughout the work; seemingly accidental but almost certainly intentionally allowed to remain if not deliberately concocted. One layer of constructed artistic reality catches on the constructed institutional reality; The Barbican's fire safety equipment remains visible throughout and allows the artist to draw our attention to his methodology of deliberate illusion. Our immersion in it is never quite complete.
Self conscious handprint. A trace of 'The Artist'.
Curtain at the back of the installation behind which the mechanics of the illusion are exposed, the artist's workspace. Like the reveal in The Wizard of Oz. Backstage. Pictures of Emma Watson cut out of a magazine and stuck on the wall.
A disorientating sense of absurdity will not allow the viewer to succumb to the passive manipulability encouraged in museum installations. Wires are not connected, pipes don't go anywhere. Theatre. Facade. The space is not associated with use but with spectacle. Walking experimentally up the rail tracks the sense of transgression is strong, there are things behind things but only so far, then you hit the institution and its familiar boundaries and interdits.
The promenade form of the installation lends itself immediately to narrative but ironically also reinforces an impression of a Disney Land style attraction that permeates the experience. This is noticeable in the first instance at the point of departure from the Barbican's foyer where brighter lighting gives the viewer their first view of the installation's aesthetic and under which it appears decidedly more artificial than it does in the interior of the installation. Juxtaposition with the design aesthetic of the Barbican's interior decor enhances this incongruity and certainly lends a layer of irony to the viewer's perception of the work from the outset. The sense of entering an illusory space where our usual narrative context is suspended is one that in a society dominated by Capitalist Spectacle is so familiar that we cannot help but retain these associations even in contexts where apparent seriousness of content should preclude thoughts of theme parks and funfairs.
It seems to me to be a central issue in this work that generational disparities in our relationships to media, matter and things conflict with the smooth transmission of cultural memory. Perhaps dreams and fictions are the only places where this ambiguity can be dealt with effectively and specifically. The grand fictional narrative of the post apocalypse and the connection it creates between the dual imaginary realities of past and future is a fine site on which to found work of this kind. It is said that children can inherit the dreams and nightmares of their parents. Objects from the past carry history into the future.
Comparisons with Gregor Schneider/ Dominique Gonzalez-Foerster/Mike Nelson/Thomas Hirschorn/John Bock. Also Anselm Kiefer.
The grey painted surfaces. The Hum. The Rubble.
Robert Kusmirowski
'Bunker'
The Barbican Curve Space.
23.11.09
Hestia Peppe
Animism. Things and collecting them. Nostalgia of matter. Collective memory. Relationship to the narratives of preceding generations.
Architecture of /from dreams.
My first thoughts on entering the installation are that these objects have real histories of their own which are overwritten by greater narratives of History. Both are 'true' but perhaps do not pertain equally to the physical objects and the conceptual content of the work. There is this uncomfortable relationship between a plurality of histories competing for my attention.
Small instances of glitch occur throughout the work; seemingly accidental but almost certainly intentionally allowed to remain if not deliberately concocted. One layer of constructed artistic reality catches on the constructed institutional reality; The Barbican's fire safety equipment remains visible throughout and allows the artist to draw our attention to his methodology of deliberate illusion. Our immersion in it is never quite complete.
Self conscious handprint. A trace of 'The Artist'.
Curtain at the back of the installation behind which the mechanics of the illusion are exposed, the artist's workspace. Like the reveal in The Wizard of Oz. Backstage. Pictures of Emma Watson cut out of a magazine and stuck on the wall.
A disorientating sense of absurdity will not allow the viewer to succumb to the passive manipulability encouraged in museum installations. Wires are not connected, pipes don't go anywhere. Theatre. Facade. The space is not associated with use but with spectacle. Walking experimentally up the rail tracks the sense of transgression is strong, there are things behind things but only so far, then you hit the institution and its familiar boundaries and interdits.
The promenade form of the installation lends itself immediately to narrative but ironically also reinforces an impression of a Disney Land style attraction that permeates the experience. This is noticeable in the first instance at the point of departure from the Barbican's foyer where brighter lighting gives the viewer their first view of the installation's aesthetic and under which it appears decidedly more artificial than it does in the interior of the installation. Juxtaposition with the design aesthetic of the Barbican's interior decor enhances this incongruity and certainly lends a layer of irony to the viewer's perception of the work from the outset. The sense of entering an illusory space where our usual narrative context is suspended is one that in a society dominated by Capitalist Spectacle is so familiar that we cannot help but retain these associations even in contexts where apparent seriousness of content should preclude thoughts of theme parks and funfairs.
It seems to me to be a central issue in this work that generational disparities in our relationships to media, matter and things conflict with the smooth transmission of cultural memory. Perhaps dreams and fictions are the only places where this ambiguity can be dealt with effectively and specifically. The grand fictional narrative of the post apocalypse and the connection it creates between the dual imaginary realities of past and future is a fine site on which to found work of this kind. It is said that children can inherit the dreams and nightmares of their parents. Objects from the past carry history into the future.
Comparisons with Gregor Schneider/ Dominique Gonzalez-Foerster/Mike Nelson/Thomas Hirschorn/John Bock. Also Anselm Kiefer.
The grey painted surfaces. The Hum. The Rubble.
a threshold-crossing playlist special
for these darkest of days and dedicated to Hanny Ahern and other timely revolutions.
There's no way i can be bothered to work out how to post a playlist to the web Right Now but herewith is the tracklisting for you to do wish as you will because i love you all so very. Includes done to death and loved to pieces favourites and some topical stuff too.
Tori Amos - Emmanuel
Hefner - The Hymn for The Cigarettes
Afrirampo - Oni Pika Heart
Bjork - All Neon Like
Gang Gang Dance - Princes (feat. Tinchy Stryder)
Amanda Fucking Palmer - Runs in The Family
Amy Winehouse - Addicted
CocoRosie - Rainbowarriors
Electrelane - On Parade
Kristen Hersh - Your Ghost (feat. Michael Stipe)
Kimya Dawson - Chemistry
Fleetwoord Mac - Gypsy
The Raincoats - Void
Leonard Cohen - Tower Of Song
The Dresden Dolls - Necessary Evil
Scout Niblett - Kidnapped by Neptune
Hefner - May God Protect Your Home
Gang Gang Dance - Glory in itself/Egyptian
Nina Simone - 22nd Century (from tom moore's recommendation)
Amanda Fucking Palmer - Another Year
There's no way i can be bothered to work out how to post a playlist to the web Right Now but herewith is the tracklisting for you to do wish as you will because i love you all so very. Includes done to death and loved to pieces favourites and some topical stuff too.
Tori Amos - Emmanuel
Hefner - The Hymn for The Cigarettes
Afrirampo - Oni Pika Heart
Bjork - All Neon Like
Gang Gang Dance - Princes (feat. Tinchy Stryder)
Amanda Fucking Palmer - Runs in The Family
Amy Winehouse - Addicted
CocoRosie - Rainbowarriors
Electrelane - On Parade
Kristen Hersh - Your Ghost (feat. Michael Stipe)
Kimya Dawson - Chemistry
Fleetwoord Mac - Gypsy
The Raincoats - Void
Leonard Cohen - Tower Of Song
The Dresden Dolls - Necessary Evil
Scout Niblett - Kidnapped by Neptune
Hefner - May God Protect Your Home
Gang Gang Dance - Glory in itself/Egyptian
Nina Simone - 22nd Century (from tom moore's recommendation)
Amanda Fucking Palmer - Another Year
Did I fall asleep?
2009 the year of TWITTER, MIMI GETTING WHAT SHE DESERVES(THE BEST), TAVI, FINALLY BECOMING COMPUTATIONAL, DOLLHOUSE, AMANDA FUCKING PALMER, NOT BEING ABLE TO AFFORD FESTIVALS AND NOT HAVING ENOUGH TIME TO GO TO PARTIES. DID I MENTION DOLLHOUSE? IS IT ME OR DO I ACTUALLY FEEL LIKE I KNOW WHAT I'M DOING? BEING AN AUNT (AND A GOVERNESS) BEING FULLY AWARE OF THE WONDER OF TIME SPACE AND GEOMETRY AND THE INTERNET. MICHAEL JACKSON DIES. FLEETWOOD MAC AT ALL TIMES IN ALL PLACES. FRENCH RETREATS. SHARING BOOKS. PARTYING IN ESPONDEILHAN, DARREN HAYMAN GIVES THE KIDS WHAT THEY WANT AT EOTR FESTIVAL. GIVE THE KIDS WHAT THEY WANT. GIRLS WHO FIGHT. MONSTER EMPORIUM PRESS. BLANCH AND SHOCK. EAT YOUR HEART OUT. NINA POWER(INFINITE THOUGHT). LIGHT A CANDLE AND LISTEN TO NINA SIMONE'S 22ND CENTURY. PLAYING IN MAYFAIR. GOING LEGIT. DOING A MASTERS YOU WILL NEVER BE ABLE TO AFFORD. MISS HANNY AHERNE( JUST IN TIME). SENDING THEM OFF TO COPENHAGEN. NOT GIVING UP YET. CAROLINE HERSCHEL KEEPING THE HOMEFIRES BURNING.
MERRY CHRISTMAS LIGHTS IN THE DARK
14.7.06
14.11.05
mike emily tom i am the jealousest hestia...take me me meeee with you
and thanks to the wonderful ms hedditch
also
this
this and
this
boy oh boy do i love the south london gallery. bring on the weekend baby. i'm so there. those who haven't yet noticed the wonderland that is south london, get on with it!i might be maybe applying for my first real not a monkey job. fingers toes and eyes all firmly crossed.
my to do list is hella crazy right now. it includes writing an erotic short story (it might have to be very short because i'm a bit scared...). diagramming an origami cunt. two different types of proposals. booking driving lessons (will it ever be over?)applying for several jobs. creating myself a convincing portfolio using a leather suitcase and lots of cardboard folders. pursuading my computer to burn videos which i will have showreeled to dvd. setting up a stall in spitalfields. designing a witty xmas card involving homeopathy for my mother's business. finding E L wire and buying it. writing two letters. visiting ju l; i a and b e c k y if an yone can hel p me i n a n y way at a l l wi th an y of th es e things i wi ll l o v e you forever/.and .z.ever. amen
also
this
this and
this
boy oh boy do i love the south london gallery. bring on the weekend baby. i'm so there. those who haven't yet noticed the wonderland that is south london, get on with it!i might be maybe applying for my first real not a monkey job. fingers toes and eyes all firmly crossed.
my to do list is hella crazy right now. it includes writing an erotic short story (it might have to be very short because i'm a bit scared...). diagramming an origami cunt. two different types of proposals. booking driving lessons (will it ever be over?)applying for several jobs. creating myself a convincing portfolio using a leather suitcase and lots of cardboard folders. pursuading my computer to burn videos which i will have showreeled to dvd. setting up a stall in spitalfields. designing a witty xmas card involving homeopathy for my mother's business. finding E L wire and buying it. writing two letters. visiting ju l; i a and b e c k y if an yone can hel p me i n a n y way at a l l wi th an y of th es e things i wi ll l o v e you forever/.and .z.ever. amen
and actually yet again i can't quite belive it but the festivals just like me and i AM going to the ball afterall a ha ha ha haaa haaa.yes.
13.11.05
how can things keep feeling like coming home every time i think they never can again?
i don't think a website has ever made me cry with happiness before. i want to have this woman's babies. i have turned into a rabid take-that-fan-esque ecstatic on exposure to her html. this is the fucking best shit ever ever. ever ever ever. ever.
aaaaagh.
i think she might have fixed me. just for ten minutes maybe. yes. fucking yes. girls win.
go go go go go GO o O O
aaaaagh.
i think she might have fixed me. just for ten minutes maybe. yes. fucking yes. girls win.
go go go go go GO o O O
8.9.05
ok hestia, wake the fuck up, 00000000000000you're nearly dead, this is bad...wake up damnit. wake up. its september, they're drilling holes in walls near 000your 00000head why are you still sleeping?
to do:
get the scooter ride the scooter get job (the temp agency will want you to look normal hestia so start thinking cos your gonna need a plan)get the money get place on MA have very good exhibition go to sister's WEDDING 0000000000travel make sure THEY don't notice that this is all much too difficult for hestia's and that you should have started in the beginners section and not tried to be clever and skip straight to advanced way back in year six.
to echo a dear friend in a recent sms000000000000
000000000000000where is everybody?????? and especially where is amy?00000 amy help, reality bites was real, it was real and it was a sign and we didn't take it we just thought it was a really cheesy film and its actually happening my life is dissolving into torrid piles of used up american cliche's from the last decade and i don't like it. i'm trying to look on the bright sides but there's a kamakazi in my head somewhere trying to fuck shit up. somewhere we'll plant daffodils and they'll come up in the spring.0000000000000
to do:
get the scooter ride the scooter get job (the temp agency will want you to look normal hestia so start thinking cos your gonna need a plan)get the money get place on MA have very good exhibition go to sister's WEDDING 0000000000travel make sure THEY don't notice that this is all much too difficult for hestia's and that you should have started in the beginners section and not tried to be clever and skip straight to advanced way back in year six.
to echo a dear friend in a recent sms000000000000
000000000000000where is everybody?????? and especially where is amy?00000 amy help, reality bites was real, it was real and it was a sign and we didn't take it we just thought it was a really cheesy film and its actually happening my life is dissolving into torrid piles of used up american cliche's from the last decade and i don't like it. i'm trying to look on the bright sides but there's a kamakazi in my head somewhere trying to fuck shit up. somewhere we'll plant daffodils and they'll come up in the spring.0000000000000
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