Categories
Conversations References Studio Visits

conversations

how can you use the experience of the work in the installation space to ask one question?

claire tossin
Swaantje Guntsel and Jan Scheibe

“their complete disregard for the fact that they were littering is particularly poignant because the promenade borders the coastline of the Aegean Sea, and the litter was sure to be blown into the water. Yet the apparent amorality of the gesture is indicative of a more insidious reality – the garbage had already been gathered from the beach, and the performance simply recirculated it. There is no outside to which plastic can be relegated, only a ‘recycling’ within a closed system.

** I think this work is great for thinking about multiplying meaning by examining the origins or the material used

“by considering plastic in aesthetic terms, the artworks discussed in this chapter loosen it from the presumption that it is either a morally contemptible substance or a testament to technological prowess”

this quote is helpful to me because I often feel very bound by the ecological ethics of my material choices, but perhaps it’s worth departing from that. our world is saturated with plastics, and ‘fast time’, so it is reflected in the work, in order for us to ask questions / look at living in that state of contradiction – desiring slowness in a world of fast plastic

“the temporary span of plastic is so great that it always already radiates form the future to the present”

“plastic’s futurity is precisely its existence as a tensile mass that refuses growth and degeneration”

“it forecloses the openness of decay”

jessica stockholder talk

Categories
Process Studio Projects Two Days

two days

I wake and it’s already bright out,
sun spilling on the white rooftop making it look like a blanket of snow.

The first two durations are tiny.
I could barely light the second with the first without scorching my fingers.
Once lit, I watch the flame. At any moment they could topple and burn through the circle. So I start my day tending.

With the third, urgency faded but I could still do no more than record the shape of this duration with bluepea dye.

Fourth
Shitake mushrooms
Dried tofu skin
Dates, pitted
Goji berries
Watery coffee

There’s a heaviness in my core, a strain in my shoulders,
I wonder if diluted coffee can really wake me.
There’s plenty of time when I finish my meal, so I open Ruth Ozeki’s book.

An old nun Jiko says, “If you start snapping your fingers now and continue snapping 98,463,077 times without stopping, the sun will rise and set… and you will experience the truly intimate awareness of knowing exactly how you spent every single moment of a single day of your life.”

In the circle,
there are no drips.
The only visible accumulation are the tiny grains of soot that appear when I brush on another layer of bluepea dye. Some consumed part of the duration dissolve and smudge into faint streaks.

(excerpt from Two Days)