Category: References

References

notes

Post author By xche
Post date February 25, 2021
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ronny quevedo’s artist talk

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the history of a material

wax

stains

in different times and locations

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(wax paper)

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drawing — immediacy, apply a quick thought, something that can be traced

printmaking — the time delay in making the preparations, and the printing itself takes just a few seconds, a mark that can be repeated

iterations — going back to an idea, and refining a thought

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traveling in space, time, drawing, wall-based, not white walls?

lines in time: tree rings, creases, sun-bleached wood on houses, what else writing?

places of convening, movement piece

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I really liked Ronny’s going backwards and forwards in time to find these lines. And the scalability of the works.

I grew up in Singapore, a former British colony. English is a colonial language, but it is also the language I am most fluent and expressive in. It’s heartbreaking and alienating and fascinating to think of English as a force of infiltration because I write copiously for myself. I write in English about the moments and people who I cherish the most. I write descriptive details of what my loved ones were wearing, or I write down lines from conversations from years ago that I still think about, all in English.

English is the language of a colonizers but it is also me. Speaking and continuing to learn Chinese now is an act of reclamation, but a reclamation of a personal history that I didn’t grow up with.

I do speak Chinese when I’m bargaining for vegetables or ask my grandmother what she ate for lunch. But it’s in English, that I really say “you’re important to me” or “I’m thinking of you” or “look at this tree”.

What personal and collective histories haunt our words? Have I reclaimed these words for myself by using them so intimately, by using them as placeholders of love?

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what does your voice sound like? and how does it feel when you can speak in that way? (Juliane Okot-Bitek)

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A light year is the distance that light travels in a year. It’s both time and distance.

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Flatlands, A Romance of Many Dimensions (E. Abbott)

Conversations References Studio Visits

conversations

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

francis alys

working towards a simple idea, finding a simple thread in a huge, all-encompassing subject

video-documented but the art is the performance or the idea/knowledge of the performance

song dong

collecting & organizing as a way of articulating,

not always making from scratch

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