Wednesday, January 27, 2010
A short performance inspired by the 1927 silent film Metropolis by Fritz Lang, in particular Maria's Robotic transformation scene.
A scissors is used to cut away the metal used to suture along each eye, enabling the person to see ..a representation of renewed awareness....
Image 1 : torn t-shirt as gag, marker, survival blanket, Image 2: chamber pot covered in gold leaf .
As a performance artist I reconceptualise notions of self through the objectification of my body in space or environments. In this work I plan to use the deconstructed body as a system of conversing with oneself, asking oneself questions in relation to the theme of change and realigning concepts of change of self in relation to gender and the body politic; the body in relation to culture and society.Although an image maker, the experience for me lies in the act of performing. The body becomes the shared event, a piece of art in perpetual flux.
Thursday, January 14, 2010
Metropolis is a 1927 silent German expressionism science fiction film directed by Fritz Lang and written by Lang and Thea von Harbou. Lang and von Harbou, who were married, wrote the screenplay in 1924, and published a novelization in 1926, before the film was released. Produced in Germany during a stable period of the Weimar Republic, Metropolis is set in a futuristic urban dystopia and examines a common science fiction theme of the day: the social crisis between workers and owners in capitalism. The film stars Alfred Abel as the leader of the city, Gustav Fröhlich as his son, who tries to mediate between the elite caste and the workers, Brigitte Helm as both the pure-at-heart worker Maria and the debased robot version of her, and Rudolf Klein-Rogge as the mad scientist who creates the robot.
Metropolis was produced in the Babelsberg Studios by Universum Film A.G. (UFA) and released in 1927. The most expensive film of its time, it cost approximately 7 million Reichsmark to make. The film was cut substantially after its German premiere, and there have been several efforts to restore it, as well as rediscoveries of previously lost footage. The American copyright lapsed in 1953, which eventually led to a proliferation of versions being released on video.
The reconstruction of Metropolis, completed in 2001 and shown at the Berlin Film Festival, was inscribed on UNESCO’s Memory of the World Register in that same year.
"Apology of Genius"
published 1922 in The Dial
Ostracized as we are with God
The watchers of the civilized wastes
reverse their signals on our track
Lepers of the moon
all magically diseased
we come among you
of our luminous sores
how perturbing lights
on the passion of Man
until you turn on us your smooth fools' faces
like buttocks bared in aboriginal mockeries
We are the sacerdotal clowns
who feed upon the wind and stars
and pulverous pastures of poverty
Our wills are formed
by curious disciplines
beyond your laws
You may give birth to us
or marry us
the chances of your flesh
are not our destiny ---
The cuirass of the soul
still shines ---
And we are unaware
if you confuse
corrosion with possession
In the raw caverns of the Increate
we forge the dusk of Chaos
to that imperious jewellery of the Universe
--- the Beautiful ---
While to your eyes
A delicate crop
of criminal mystic immortelles
stands to the censor's scythe.
The Modernist Journals Project
The Life of Mina Loy
Charles Bernstein on Mina Loy
English As A "Second" Language
Mina Loy's "Anglo-Mongrels and the Rose"
... in what sense, if any, is the "elliptical style" of this "English Jewess," who spent so little time in America before her fifty-fourth year, identifiable as "American," especially since, overtly, it has little in common with the "American" styles (and settings) of such of her contemporaries as Stevens and Williams? To answer this question, I propose to examine Loy's remarkable long (and still almost unknown) poem "Anglo-Mongrels and the Rose" (1923-25). For here, in this allegorical, parodic, often disjointed pseudo-narrative of the poet's ancestry, birth, childhood, and coming of age, we have Loy's most compelling representation of her "mongrelization" -- the "crossbreeding" of the English and Hungarian-Jewish strains that produced, so the author herself seems to feel, a form of mental and emotional gridlock that could be overcome, in life as in art, only by large doses of the transnational avant-gardism of the interwar period.
Mina Loy feature at Jacket
Tuesday, January 12, 2010
sound workshop in prague
October 29th, 2009
‘New Maps of Time’ was a sound workshop led by John Grzinich in October. The workshop used a number of ‘revenant’ techniques and ideas in addition to exercises in sound mapping and phonography.
Saturday, January 9, 2010
Thursday, January 7, 2010
Wednesday, January 6, 2010
as an artist my work has graduated toward an increased interest in gender representation over the past two years. I am interested in the idea of ‘gender socialization’ – how our environment, culturally/socially influences our own sense of gender as historically for so long “everything other than conventional masculinity or femininity was rendered pathological”. I question whether this notion has resonance today in our relationships. How do we account for the “techniques of self” we use in everyday life. I am interested in notions of male suppressed emotional attachment and questioning this disconnectedness in relation to intimate family and social relationships. Men's emotional dependency is discussed under the concept of power and control in my work, in conversations and objects engaging a space. Viewers’ participation in the piece is central to the installation, I hope to engage the viewer in a questioning of their own gender identity and its relationship to others.
Many ideas have influenced my work including the writings and films of feminist writer Marguerite Duras in particular the film Le Camion which is used in the piece. It is the tone and tempo of the scripted conversation that plays out that is of interest to me rather than the actual words. After creating a scripted dialogue with my father I had this script read in a controled and intimate installation miimicking the lighting in Le Camion along with extended deliberate silences and a feeling of uncomfortableness, the aim being to reinact the strained tension of communication between the role of father and daughter. The psycological and physical aspects relating to the Roman Room Technique also interest me and this informed my decision to have two separate rooms with a view from one to the other with no access.
The viewer enters the first larger room representitive of the male role. Atop the steps a wardrobe stands, specifically made for housing a mans wardrobe. To the left of the steps is an enlarged photo of stacked old chairs behind thick obscured glass. The chairs in this photo mirror the one in the next room which is a life-size toy like rocking chair with screenprinted imagery. The smaller room is abstract, playfull with clashing colours