레이블이 2013 resident Artist (4th)인 게시물을 표시합니다. 모든 게시물 표시
레이블이 2013 resident Artist (4th)인 게시물을 표시합니다. 모든 게시물 표시
Works at : Seoul Art Space_Geumcheon
Stays in : 2012
Website : http://yang02.org/

 
Profile

Education
Tama Art University, Information Design Field, Design Course Master Program
 
Prize
2011   15th Japan Media Arts Festival: New Face Award (Art Division)
2010   TDC Anual Award 2010: Winning Work (RGB Category)
2009   15th Student CG Contest: Grand Prize (Interactive Category)
 
Grant
2013   "The Japanese Government Overseas Study Programme for Artists" Agency For Cultural Affairs/ Tokyo
2010   Tokyo Wonder Site Exchange Program @HANGER, Barcelona, Spain
 
Solo Exhibition
2013   untitled 2 @Nakamura Keith Haring Collection, Yamanashi, Japan
         JIZZED IN MY PANTS @3331 gallery, Chiyoda, Tokyo
 
Selected Group Exhibition/ Festival
2012   Japan Media Arts Festival in Hong Kong 2012 @ArtisTree, Hong Kong, China
         Guimaraes noc noc, Guimaraes, Portugal
         MFRU @Centralna Postaja, Maribor, Slovenija
         Mediacity Seoul @SeMA, Seoul, Korea
         NOVA Contemporary Culture @MIS - Museu da Imagem e do Som, Sao Paulo, Brazil
         15th Japan Media Arts Festival @The National Art Center, Roppongi, Tokyo
2011   kitsch digital @Can Felipa, Barcelona, Spain
2010   EXTENDED SENSES @Alt Space Loop, Seoul, Korea
         Incheon International Digital Art Festival 2010 @Tomorrow City, Incheon, Korea
         KUALA LUMPUR DESIGN WEEK 2010 @ National Art Gallery, Kuala Lumpur, Malaysia
2009   ICC OPEN SPACE 2009 @NTT Inter Communication Center, Hatsudai, Tokyo
 
Workshop
2012   SENSELESS DRAWING BOT Prototyping Workshop @f.Labo, Ohgaki, Gifu
         SENSELESS DRAWING BOT Prototyping Workshop @Mercedes-Benz Connection, Roppongi, Tokyo


works


SENSELESS DRAWING BOT (http://vimeo.com/30780208/)
2011 / Installation / RC Skate board, Metal, Bearing, Battery, Motor, Spray paint, Microcontroller, Sensor / Collaborator : So Kanno

2012, 2013 / Installation / RC Skate board, Pressure washer, Bearing, Battery, Motor, water-based paint , Microcontroller, Sensor /Collaborator : So Kanno

A Device for "Graffiti" (http://vimeo.com/25623727)
2010 - 2011/ Installation / 600×300cm / Spray paint, Spring, Motor, Rope, Pulley, Micro Controller, Sensors

Urbanized Typeface 
Shibuya08-09/ Incheon2010/ Barcelona2010
2009 - 2010 / Installation, Font data / PC (Mac OSX), Projector, Keyboard, Screen, GPS data logger

Radiation Typo
ARTSAT Project (http://artsat.jp)
2012 / Softwear, Data Visualization / 1920×1080px PC (Mac OSX), Monitor, Geiger counter, Arduino
















Works at : Seoul Art Space_Geumcheon
Stays in : 2013
Website : olivetinge.com



Profile
 
Education
2001 BFA, Art Center College of Design, Graphic Design
1994 BFA, Pomona College, Studio Art
1996 AA, Fashion Institute of Design and Merchandising, Fashion Design

Exhibition
2012
Oakland Museum of California,
ongoing, currently in prototype stage,
video art direction and development, producer,
commissioned to create video projection for permanent exhibit of Natural History Gallery, reopening October 2012                                                                                    

2012
Chinese Historical Society of America,
currently on exhibit from April 2012 – December 2012,
Design of gallery installation adapting evening length performance piece, “Passages” for which I was nominated for Isadora
Duncan Dance Award for Visual Design. “Passages” was a performance piece premiering in San Francisco in September
2010. (please refer to 2010 “Passages” performance listing below)

2012
No Exit, multi-media dance performance,
directed by Christine Bonansea. Premiered July 2012, ODC Theater, San Francisco
Design of all visual media for full-length dance performance. Visual media consists of video projection on full back wall and entire floor of theater.

2012
“Reflections”
edited and adapted 8- minute short film based on concept for full-length performance piece of same name, directed by Lenora Lee. I designed the visuals for the piece performance (please refer to 2011 “Reflections” performance listing below)

2011
“Reflections” multi-media performance with Lenora Lee Dance,
directed by Lenora Lee. San Francisco premiere(September 2011at Counter PULSE); New York City premiere (October 2011 at John Ryan Theater) Designed and produced visual design for video projection used in performance.

2010
“Passages: For Lee Ping To” multi-media installation and performance with Lenora Lee Dance.
San Francisco premiere * September 2010 at Dance Mission Theater, New York City premiere (November at John Ryan Theater) Performance directed by Lenora Lee, Installation concept by Olivia Ting. Designed video projection, sound design, and installation concept.

2009
“Origins of Flight” multi-media dance performance with David Herrera Performance Company
Premiered November 2009, Mission Cultural Center, San Francisco
media designer for theater production, video projection design

2009
“Diaspora Tales #2:1969” social performance in form of music with The Francis Wong Unit San Francisco, CA Oct 2009
media designer for video projection design
 
 
Award
2011
Nominee for 2012 Isadora Duncan Dance Awards
Outstanding Achievement in Visual Design for dance performance “Passages”

2012
Short film “Reflections”screenedatRuoli Segreti e Ruoli Proibiti / Hidden & Forbidden Identities, an international videoart festival and photography exhibition in Venice, Italy from February 11-21 during the Carnevale. Organized by International ArtExpo, The Seven

2012
Short film “Reflections” accepted for Fei Contemporary Art Center Video Project. To be screened in Shanghai, and Taipei (Bamboo Curtain Studio).
 
REFLECTIONS PERFORMANCE MEDIA DESIGN
(http://olivetinge.com/#REFLECTIONS-performance-media-design)
REFLECTIONS SHORT FILM
editing: Olivia Ting / media special effects: Olivia Ting / videography: Ben Estabrook
(http://www.youtube.com/watch?v=6a1uM99gRdw)
PASSAGES PERFORMANCE/INSTALLATION MEDIA DESIGN
DEATH BE NOT KIND
video instalation at fund-raiser for no exit, 2009
(http://olivetinge.com/#Death-Be-Not-Kind)



Olivia Ting

Photocollage for me is an exploration in memory, which is never recalled with crystal documentary precision the way a photograph is perceived as a recorder of facts. I especially am attracted to light projections because the image is incorporeal; it is not on a traditionally tangible media such as paper or canvas or print. If you step into the projection, you break the image by casting your own presence into it. In translating these memory-scapes into an environment installation, the audience can enter and experience these projections as an interior of a hall of mirrors.


Critique of Olivia Ting, Cordell Bank Installation
Lisa Ellsworth (Curator)
 
Olivia Ting’s panoramic installation in the Gallery of California Natural Sciences at the Oakland Museum of California (OMCA) presents at first glance a video projection of an aquarium on the scale of several hundred thousand U.S. gallons. Her work is projected onto a 12-foot high by 30-foot wide curvilinear surface and incorporates raw, archival footage of marine flora and fauna. At present, the Gallery is undergoing a physical transformation that, once complete, will enable OMCA to feature semi-permanent and temporary interactive exhibits and information about the Cordell Bank National Marine Sanctuary, an underwater ecosystem west of Point Reyes, California featuring an upwelling of nutrient-rich waters and a coral-topped mountain that feeds migrating marine animals from all over the Pacific. In addition to the internal team - a curator, developers and a project manager tasked to bring the interactive exhibits to fruition - OMCA enlisted scientists, designers and artists, commissioning Ting, one can assume, for her work that combines photography, video, moving images and sound to create atmosphere and activate environments with emotional effect.
 
Ting says that she is interested in “the cellular possibilities of taking a unit of something, anything really, and building a new organism – just to see what it (can) become,” creating new systems out of existing ones. This fascination is manifest in her video collage taking simple imagery and replicating, layering and oscillating it, presenting it in three-dimensional environments, or in large-scale projections cast onto a single surface, activating multidimensional planes within the projection itself. Ting’s installations suggest a modicum of viewer participation and movement through the spaces she creates, and the need for physical proximity for an enhanced experience, as do Olafur Eliasson’s multisensory, elemental interventions.
 
Viewing Ting’s Cordell Bank installation for no more than several seconds, slow-moving ribbons of kelp appear mirrored and fade from the projection surface, enfolding symmetrically as if viewed through a kaleidoscope. A school of anchovy or smelt and a sea lion and a dolphin, and another, appear and disappear as they came. Working in digital video, Ting fractures and abstracts footage in the spirit of Jennifer Steinkamp and experimental filmmakers Stan Brakhage and Michael Snow before her. Ting’s work is not likely to draw comparisons to the light and space movement, nor does she claim painting as a reference, paint celluloid or scratch into film. She does not reach the same level of abstraction with this work either. What she does is treat the viewer to subtle and sometimes dramatic changes in exposure, dreamlike flickering and fading light, superimposed subject matter, and ephemeral moments like memories; and she uses the shape and light-bending quality of water to her constructive and aesthetic advantage. The Cordell Bank installation defies narrative, giving agency to viewers as participants moving through the environment, changing the relationship between viewer and subject, and encouraging interference with the projection by design, abstracting it further as shadows and light are cast.
 
Footage is pieced together rearranged, the result of which is a seamless composition of visual imagery that affords multiple perspectives. Synchronized formations of fish fall lyrically off the projected surface and the viewer is presented with a pan shot from above a blooming coral reef and simultaneously a right-pan and left-pan alongside it. Subjects pass in unnaturally slow motion, delayed in the foreground and eventually making way for expanding and collapsing jellyfish increasing in density and revealing a new strata full of bioluminescent organisms less familiar. Fish – masked, copied and pasted replications of a single image - float past flatly in two dimensions like papercuts following a track on the projected surface in a way that somehow does not distract, but rather playfully enhances and serves as a place for the eye to rest on an otherwise undulating and potentially disorienting surface. There is something absurdly humorous about these static images that whether intentional or not, pays small tribute to the 1954 film <20,000 Leagues Under the Sea>.
 
This visual imagery makes sense given Ting’s fascination and exploration with the application of photo collage techniques to video. The result is arresting and evocative of dreams.












Works at : Seoul Art Space_Geumcheon
Stays in : 2013
 
Profile

Education
2003 BFA Miniature Painting National College of Arts, Lahore, Pakistan

Exhibition
2012 5th Contemporary Art Biennale, Baku, Azerbaijan
2011
Special 'Siri' Series, Aicon Gallery, New York, USA
Lines of Control, Herbert F Jhonson Museum of Art, New York, USA
2010 Beyond the Page, Pacific Asia Museum, Pasadena, USA
2009
Dying Miniature, Green Cardamom, London, UK
Safavids Revisited, British Museum, London, UK
2008 Afghanistan: Future, Gemak/Gemeentemuseum, Holland
2006 Lila/Play:Contemporary Miniatures and new art from South Asia, Span Galleries, Melbourne, Australia
2004 Contemporary Miniature Paintings from Pakistan, Fukouka Asian Art Museum, Japan
    
 
Dying miniature, gouache on wasli, 47.5x30cm(each), 2008

Wait, gouache on wasli, 52x67cm, 2008

In God We Trust, reflective sticker on mounting card with flicker light, 70x95cm, 2007

Flag ceremony, video of installation, 3minutes, 2007

On Indefinitness "performance", gouache on wasli with glass box and ink on water, 70x55cm, 2008

Un renderng the rendering, screen printing on a printed image with scratched pigment, 25x20cm, 2009 


Muhammad Zeeshan


I am interested in the pedagogics of a school of thought. As a trained miniature
painter I try to re-visit the basic instructions of learning ‘art’. This involves
borrowing ‘iconic high art’ images to ‘practice’ drawing in order to understand
the principals and elements of sketching.



The Social Turn
Seher Naveed Art Writer and (Senior Lecturer of Fine Arts at the Indus Valley School of Art and Architecture)
 
Born in Mirpurkhas, Muhammad Zeeshan’s training in the arts began at a very young age. He was only 12 years old when he began working at a commercial painting shop as a cinema board painter. In 2000, he joined The National College of Art where he trained in miniature and sculpture, and graduated with a BFA in 2003.
 
Influenced by Mughal miniature, there lies an undercurrent of violence in Zeeshan’s beautifully crafted imageries. His interests lie in the domain of questioning contemporary miniature painting. And therefore, based on the basic principal of copying (an integral part of learning the technique of miniature painting), Zeeshan’s work often involves borrowing imagery from other art works.
 
In <Dying Miniature>, Zeeshan steps away from traditional methods, and instead explores the idea of miniature as a dying art form. Using coarse sandpaper in place of the absolute smooth surface of a wasli, he rubs layer upon layer of graphite pencil onto its surface till the final image looks meticulously burnished. Visually tranquil the extraordinary encounter of graphite and sandpaper is aggressive and destructive in nature. The imageries evoke a sense of violence suggesting that drawing itself is also a residuum of attrition and residue. The series can be best described as an institutional critique of miniature painting- whereby the only visible ‘miniature’ aspect of the work are the subjects, the structured silvery silhouettes and poses of which are evidently distinctive of the Mughal-era paintings.
 
In recent years contemporary art in Pakistan has evolved bringing to light critical and analogical materialization of the many miniature practices. By constantly striving to break away from the traditional norms of miniature painting Zeeshan often employs new technologies in his work. His practice highlights his interest in popular culture and how it influences aesthetics- Thus focusing primarily on experimenting with material and surface manipulation. His most recent works involve experimenting with laser machines. Fascinated with the drawing like marks attained using laser technology, Zeeshan uses laser scoring to draw with a burnt line. Using the machine on its lowest setting so the laser leaves but a mark on the waslithe visuals comprise of a million fine lines of what are essentially burn marks with impeccable detail. In his special ‘siri series’, Zeeshan addresses the cultural and historical significance of beheadings. The imagery includes decapitated heads of male humans and animals. Painted in gouache and complemented by a laser score on wasli, the ‘siri series’ depicts the time when beheadings were accepted as symbols of victory and power, in stark contrast to the connotations of barbarianism it is now identified with. Like graphite on sand paper here lies a parallel conflict- a similar violence that underpins Zeeshan’s practice to the current socio-political events and religious upheaval in Pakistan.
 
His work is part of various collections including Fakouka Asian art museum in Japan, Asal collection in London, The Metropolitan Museum of Art in New York and in 2010 his book work titled <A Colligation (isolated facts)> was acquired by the British Museum as part of their permanent collection
 
Today, Zeeshan is at the forefront of miniature. From simple painting on wasli his work has evolved to include pop up like facades, cut outs and installations using video and other digital technology. His ‘miniaturized’ images are illustrative in nature and are narratives put together often suggesting an event, a happening or a thought. Focusing on interactionist methods, Zeeshan’s practice revolves around urban interventions and public art, allowing person-to-person exchange and communication.










Works at : Seoul Art Space_Geumcheon
Stays in : 2013
Website : www.nicolaspelzer.de
 
Profile
 
Education
2006 University of the Arts, Berlin, Germany
2011 Diploma with Distinction at the Academy of Media Arts Cologne, Germany
Solo exhibitions
2013
IN REAL WORLD, Lounge Project, Artsonje Center, Seoul, South Korea
WAITING WITH THE FRUITS, Skulpturenmuseum Glaskasten, Marl, Germany
2012 PARAMETRIC PLEASURE, The Future Gallery, Berlin, Germany
2011 SITUATION ROOM, Moltkerei Werkstatt e.V., Cologne, Germany
2010 ALLES LAVA, Baustelle Schaustelle, Essen, Germany
2009 NICOLAS PELZER, glasmoog, Cologne, Germany
2008 ISLAND, RAUMKALK, Cologne, Germany
Group exhibitions
2013 MORE OR LESS, WCW Gallery, Hamburg, Germany
2012
PLAYTIME, Culture Station Seoul 284, South Korea
5JAHRE, Baustelle Schaustelle, Essen, Germany
REAL DMZ PROJECT, Cheorwon, curated by SAMUSO, South Korea
NEW TALENTS, Landesvertretung NRW, Berlin, Germany
NEW TALENTS - Biennale Cologne, Cologne, Germany
MONTAGEN, SSZ Sued, Cologne, Germany
SECHS MINUS, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany
EINIGE PARALLELEN, Temporary Gallery, Cologne, Germany
2011
SAMMLUNG IM PROZESS, Skulpturenmuseum Glaskasten, Marl, Germany
TEMPORARY RE-VISIONISTS, Space O’New Wall, Seoul, South Korea
PUBLIC, PRIVATE, CORPORATE, Generali Deutschland, Cologne, Germany
UN PROBLÈME INSOLUBLE, Triangle France, Marseille, France
METROSPECTIVE 1.0, Program e.V., Berlin, Germany
2010
YOU MAY ALL GO TO HELL, AND I WILL GO TO TEXAS, Ryan’s, organized by The Future Gallery, Berlin, Germany
SCHAUFENSTER, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany
IDEENBILDER, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany
JUNGE KUNST IM RUHRGEBIET, Gladbeck, Germany
2009
VOGELSANG INTERVENTION, Vogelsang/Eifel, Germany
JUNGE PROPAGANDA, Plan09, glasmoog, Cologne, Germany
Awards
Exhibition Funding, IFA, Institute for Foreign Cultural Relations, 2012
Nachwuchsförderung, Kunststiftung NRW, 2011
Exhibition Funding, IFA, Institute for Foreign Cultural Relations, 2011
DAAD Scholarship, German Academic Exchange Service, 2010
Art Award 2010, Baustelle Schaustelle, Essen, 2010
 
ANGULATED FOCUS, 2011
glass, panel connector, iPhone, cable
226x140x130cm
Space O'New Wall, Seoul

COLUMNS, 2012
artificial leather, Curtain Rods
292x380x20cm
Temporary Gallery, Cologne, Germany

DISLOCATED CINEMA, 2012
glass surface with an aspect ratio of 16:9, folded
frosted glass, panel connector
220x396x2cm, variable size
Cheorwon Peace Observatory
REAL DMZ PROJECT 2012, Cheorwon, South Korea
curated by samuso: space for contemporary art
NEGATIVE EXPOSURE, 2011
7 glass panes with an aspect ratio of 16:9
185x100x2cm
Generali Deutschland, Cologne, Germany
SETTINGS FOR A FAST POSTURE, 2012
Pop-Up-Display, cotton, tie-dye
215x265x50cm


Nicolas Pelzer


Nicolas Pelzer is interested in dealing with the physical presence and materiality of the actual space. Considering the growing influence of new media especially in the online world, which changes the value in the real world, his installations attempt to reach existing locations and to intervene in their original architecture and historical context.


Metaphors of Reality Created through Objects
Seo Juno (Director, Space O’NewWall)
 
Nicolas Peltzer has worked with an interest in Korea's reality since 2010. He focused on capturing the somewhat offsetting circumstances of Korea in comparison of its special situation of division to that formerly of Germany's. For example, after having toured the reunification observatories dotting the landscape by the Demilitarized Zone, Peltzer has published a booklet, etc. (Dislocated North Korea, Nicolas Pelzer, 2011, artist publication) containing the ironic situation of an overlapping of the tragedy of those who have lost their hometowns, threatening images of ‘the enemy’ of North Korea and aspects of how they are being received, and commercial utilization as a ‘security tourism destination’.
 
At the exhibition Temporary Re-visionists at Space O'NewWall in Seoul in 2011, Nicholas Peltzer exhibited video work played through the iPhone, <Angulated Focus>, created from glass panels, the book <Glass Line> created in 2010 and the piece <The Cabinet>, an image created from glass panel connectors. At Space O'NewWall, where the facade consists of a single glass panel, Nicholas Peltzer has cut into five pieces a sheet of glass identical in size to the gallery's glass panel, and connected and arranged the connectors in a form reminiscent of the Big Dipper. He made a work of video created through sketch-up between the glass panels and the gallery's glass facade faces his glass piece so that it could not be seen from outside the gallery, and the sloped and angular glass panels conveying a sense of peril reveal the artist's views regarding ‘security tourism sites.’
 
The reunification observatories, nonexistent in Germany although they were also once divided, were an object of strong interest for the artist. The observatories consist of observation platforms offering views of North Korean territory beyond the Demilitarized Zone and exhibition spaces exhibiting images of North Korea and those related to the division. It appears the artist has interpreted the glass installed on building facades to allow extensive views into the North Korean border areas as North Korea itself being showcased as an exhibit. Thus the artist comes to view Korea's situation of division being held in a double glass show case. A show case which appears to reveal a reality beyond military borders, using another ‘boundary’ in glass, but in fact is filled with manufactured and planned images. This is likely the precise reason the artist has formalized reunification observatories through glass panel structures connected using connectors.
 
Nicholas Peltzer has represented the structure and situation itself of reunification observatories in the exhibition Temporary Revisionists and has exhibited something of a similar form at the Peace Observatory in Cheorwon in 2012. However, the 2012 Cheorwon Peace Observatory work, in contrast to the piece in Seoul, was an installation disturbing the view the reunification observatory consisted of by erecting interconnected non-transparent glass panels in front of the glass of the observation platform from which to view North Korea. He satirized the structure of the reunification observatory, which asks people to imagine the whole through a part of North Korea seen beyond the glass by focusing attention on the results of curiosity and imagination regarding North Korea itself. Then, by capturing what was represented in the show case of an exhibition space the artist exhibits the structure itself of the traffic of gazes. The intentions behind viewing images thought to be what North Korea looks like only through glass panels leads one to think about the structure of gazes, and distinguishes between the layers of the gaze. In such way the artist reveals the method in reunification observatories or the lines of sight through which North and South view each other through a layering of the gaze. What the artist reveals beyond the glass panel may perhaps ultimately be the appearance of a realist striving to approach a multi-layered reality.














Works at : Seoul Art Space_Geumcheon
Stays in : 2013
Website : www.darrenandrewtesar.com
 
Profile
 
Education
2010 M.F.A. (With Distinctions) Glasgow School of Art, UK
2008 | B.F.A. (Magna Cum Laude) University of Wisconsin-Stout, USA

Solo exhibition
2013
The Medium Moves, SASG, Seoul, South Korea (Forthcoming)
Refining Commitment, XMS, Taipei, Taiwan (Forthcoming)
2011 A Barbarous Intensity, Project Room, Glasgow, UK
2010
De-Worlding, Sadie/Halie Projects, Brooklyn, New York, USA
Fill the Invisible, David Dale Gallery & Studios, Glasgow, UK

Group exhibition
2011 Residence Suddenly, Beauchery-Saint-Martin, France
2010
Definite Article, Kunstlerhaus Bethanien, Artnews Project, Berlin, Germany
MFA Degree Show, CCA: Centre for Contemporary Art, Glue Factory, Glasgow, UK

Project
2012 Guest Curator: Marzia Rossi and Fiona Burke, David Dale Gallery & Studios, Glasgow, UK
2011 Do what the clouds do: Panel discussion, David Dale Gallery & Studios, Glasgow, UK

Award
2012 Writing Fellowship, Vermont Studio Center, USA
2010 Honorary Membership, Glasgow Sculpture Studios, Glasgow, UK

Residency
2013 Artist Residency, SASG, South Korea (June 2013)
2012 Writer’s Fellowship, Vermont Studio Center, USA
2011 Residence Suddenly, Beauchery-Saint-Martin, France
2010 David Dale Artist in Residence, David Dale Gallery & Studios, Glasgow, UK

other(publications)
2013
Reverentialism, Untitled Space, Milan, Italy
Needing | Kneading, WOWHUH, Brooklyn, USA
2012
Ode, Rez-de-Chaussée, Glasgow, UK
Through the drafts of their own deafness / The Medium Moves, Florence Loewy's Gallery, Paris, France
Yogi Berra, Rebecca (part of NWSP 2012), Collective Gallery, Edinburgh, UK
Untitled Text (to accompany a video by Giuseppe Mistretta), The Lombard Method, Birmingham, UK
2011
A Barbarous Intensity, 2HB Vol.12, Glasgow, UK
Feeding on Glints, ITCH, Vlaeberg, South Africa
Where You Go I Go Too, Psykick Dancehall, Issue 3, Glasgow, UK
Mr. Versatility: A Discursive Cartography, David Dale Gallery & Studios, Glasgow, UK
2010
De-worlding: collaborative essay with Patrick Gantert, Sadie/Halie Projects, Brooklyn, NY, USA
Feeding on Glints, David Dale Gallery and Studios, Glasgow, UK
Lil’ Wayne, Victor & Hester, Vol. 5, Glasgow, UK




 

 

 

















Darren Tesar

NEEDING. KNEADING.
 
Introduction
 
The following text acts by way of sublation to coax out the possibility of a shared utility from an individual artist statement. I feel we all write statements that are more or less the same. The same due to the perceptible amassment of contempt we all feel around the mass proliferation of the artist stating. Contempt made possible by tempting to work in tandem with its expositional as well as argumentative potential within being considered.
 
Before going any further, I wish to stress the prior use of sublation. Some readers will find the lack of consent in the use of we in the following text unnerving and incompatible. I understand that not all practices can and should not be framed in what follows. Still, it is my wish to open even my artist statement below - one in which I will continue to use for my own career – into the shared possibility of meaning something for your practice through your demeaning appropriation of its affect.
 
The following text attempts to make sense of artistic practice within two impetuses, namely that of needing and kneading. The former being the selfserving irresponsibility toward the construction and guidance of knowledge gleaned off our activity. The latter being the inevitable re-absorption our possession undergoes within sharing our sensibility to the regulating principles of artistic professionalism. We meet our needs by kneading the production of the other, irreverently, back into our own unraveling. However our need is always kneaded back into the needs of the other. It is exactly for this reason that my statement can move from a singular need into just another much kneaded possibility.
 
Artist Statement One - Needing
 
I came in from the canal. I don’t know anything.
It is all well and good to ask what we need to know
as if it were all, as if we didn’t need.
 
Well I need. I may never know anything
but I need. One sees desire not
as something to satisfy but to live with.
- Excerpt from William Bronk’s poem “The ignorant Lust After Knowledge”
 
The method based out of need, if there is one, finds rooting in a conscious disregard for the primacy of a shared accuracy and, rather, favoring a more generative and self-serving intensity. In keeping with the fringe practice of ‘Neo-Paganism’ the impetus within collection, admiration, and emulation go only as far as to satisfy very temporary and situationally significant purposes. The potential of such a fetishistic interaction is that the method of interaction is initiated by a series of judgments not liable to operate by reporting its own judgments back onto itself. Poet Rainer Maria Rilke touched upon this nonreflexive action when he wrote “So you began that unprecedented act of violence in your work, which, more and more impatiently, desperately, sought equivalents in the visible world for what you had seen inside.”1)
 
This ever-effacing sentimentality can be described as a type of acute receptivity toward self-implication within the world, which, at the cost of understanding, opens onto an infinite field of delusional potential. As a result, potentiality is then thematized endlessly since it is always and only encountered as it is - potential and not actual. In other words, the preference is always to remain in the potentiality of the experience rather than the actuality. The sentimental approach to being is always reactionary and sparked by the instance of a breached proximity. However, the subject is never lost within the instant but instead finds absorption in its malleable non-presence (afterimage).
 
It is a fixation on ‘appearance’ where sentimentality can take hold and develop into a generative mode of production that is both critical and susceptible - a simultaneous state of being wholly absorbed and utterly disengaged within an object of speculation/adoration. Sentimental thinking recognizes itself by inhabiting the spacing between experiences and, as a result, must be realized as a form of disengagement from the instigating event/object itself. At odds with this disengagement is the fact that the spacing isn’t what is sought since the spaces do not communicate in and of themselves. What communicates is the content spaced out by the fixation of the spacing. The distancing then becomes an intensifier for a retroactive connectivity. This strange reflex to meet intimacy with distance out of a desire to continue the intimate moment is the disengagement offered from sentimentality.
 
Artist Statement Two - Kneading
 
A heron flew over the bamboo forest and Siddhartha accepted the heron into his soul, flew over forest and
mountains, was a heron, ate fish, felt the pangs of a heron's hunger, spoke the heron's croak, died a heron's death.
A dead jackal was lying on the sandy bank, and Siddhartha's soul slipped inside the body, was the dead jackal, lay
on the banks, got bloated, stank, decayed, was dismembered by hyaenas, was skinned by vultures, turned into a
skeleton, turned to dust, was blown across the fields.
- Excerpt from Herman Hesse’s Siddartha
 
The kneaded practice takes place under the repurposed understanding of the following term: autography.2) Poised to embody the term through the its primary definition - that which is written by one’s own hand - I see something that re-presents encounter, appropriation, and possession through the situational truth of being only a substitutional moment in the unassignable gift of creative agency.
 
I also see the use of autography often, but less intentionally, employ it’s secondary definition - a collection of autographs - through an metonymic as well as administrative process fueled off the linking of subjects who are simultaneously discerning object-hood of objects by means of the ‘neighbor-hooding’ of the object’s properties.3) It is a method that finds its course by accepting a logic of a generalized equivalence within any presentation by means of situating itself, administratively, around vacancies within the object (knowledge) simultaneously being ‘scanned in’ through the amassment of participation.
 
Only through an extreme objectification of the artist seen purely as ‘heteronomic’ affect, can the endless unicity of utility (practical, sensual, or sensible) - which results in the principiation of creativity’s foreseeable horizon - be forgotten.4) In other words, I see a practice attempting to build an endless chasm between the ever renewing return of understanding in what has to be called a finite affinity toward the creative act. This somewhat deconstructive, or selfishly-reconstructive ambition of many post-medium artistic practices then turn ever toward a logic that becomes indebted to theological encounters with a paradoxical relationship between the silence of a regulating principle (in this case the destination of art’s raison d’être) and the truth of feeling some type of demand placed upon by or in reaction to this silence.5)
 
It is then a rather simple, yet simply unattainable, belief in ‘Kenosis’ as a dominating ethic of what is then left of the ‘my’ in a creative act.6) What at first appears to be a challenge to and/or anger toward the endless spatial expansion in the criteria of creative action, instead, turns into an implicit request to be forgiven for the inevitably reductive assignation that is consequence to an artist’s willingness to present. Through the objectification of the ‘auto-’ of the ‘my’ in a biography, this question of kenosis becomes a insatiable reaction that acts as a negative space for the positive force of desire to become ever renewed out of a temporarily useful ‘you’.
 
1) Rainer Maria Rilke, "[Ibsen]," in Ahead of All Parting: The Selected Poetry and Prose of Rainer Maria Rilke, ed. Stephen Mitchell, trans. Stephen Mitchell, 258-260 (New York, NY: The Modern Library, 1995).
 
2) Autography:
1. The writing of something in one's own handwriting.
2. Autographs considered as a group.
 
3) Like Per seus enter ing Medusa’s lair -ornamented with hundreds of confrontations turned statuesque – he navigates and takes shelter behind all those stoned singulars. Without their knowing, all those who came before become component-like and build up the properties of the subject’s possible (non)perception of the object’s accumulated history (Medusa being the object). Access is never accessed itself when inhabiting movement because the contact acts only to force out a new distance for both the user and, most importantly, all future users. Where intentionality may arise in one user, millions of other users may take the repaired pathway of access as the original route or, more accurately, may take the path without any passing thought of something appearing as “original” or “route”.
 
4) Heteronomy is the opposite concept to that of autonomy, namely in the self being under the reign and domination of the other.
 
5) Post-Medium is used to stress the lack of a recurrent materiality of my artistic practice.
 
6) In Christian Theology, Kenosis (from the Greek word for emptiness κένωσις (kénōsis)) is the 'self-emptying' of one's own will and becoming entirely receptive to God’s divine will.
 
 

A Critique of Darren Tesar
Max Slaven (Program Director, David Dale Gallery & Studios)
 
Tesar utilizes indiscriminate materials, objects, and practices taken from daily activity, alongside reappropriating objects that hold a direct reference to the presentation of history. From constructing a decapitated Medusa from instructions found on DIY website, to purchasing and presenting a parasite infamous for hijacking the brains of insects, each object acts as a vacated instant of a lost potential, re-appropriated for its capability to speak of that which it has seemingly lost. His fascination with the obsolescence of production, allows the viewers to interact with and also feel akin to these objects such as the reproduction of the DIY sounds used in the making of Star Wars, and the accumulative realization of the cyclical references in the hoarding of filmic memorabilia. The result of Tesar’s exploration becomes a struggle between an ever-increasing sense of possibility and a near hallucinatory sense of illumination brought on by obsession. These sentiments are alluded to by a disposition and presentation caught somewhere between a genealogist and a memorabilia collector.
 
The method, if possible from such reckless contingency, is a pseudo-genealogy of actors who themselves are seeking genealogies. Through assimilating pieces of archival fact alongside parts of critical discourse, Tesar’s practice gathers people who pick up and use pieces of information themselves, resulting in an extension of an already extended researcher. The approach is one of spending time, wasting time, and producing times with disparate research and researchers.