Monday, 2 March 2009
Savoy Survey
there should be a survey i did here...which inspire the drawings and the rest of my work, but its not here for now, i did this survey based on the older generations taste within the savoy centre the first column was 'whats your favorite thing to buy in the savoy centre?' (the result was Tea) The second column was 'What would you like to buy in the future within the Savoy centre?' (The result was fruit and veg, which lead me to create a new column) which was 'What is your favorite fruit or vegetable?' (the result was Potatoes)
Wednesday, 18 February 2009
THE BLUE RINSE BRIGADE
Today i went into the Savoy Centre to do my usual drawings in the centre and to discuss furthur plans for my project in the Savoy. This did not go too well as the manager had decided that my work would not be suitable for the customers (which he called 'The Blue Rinse Brigade' as the Savoy does mainly attract pensioners) This made me quite angry as the whole point of my project was to try and communicate and make my work accessible for people who wouldn't necessarily come in contact with this kind of work and make it for the people. I could of taken this work to another site in Glasgow but i think that with my time left to do this project i best leave it for a later date and find something else to do in the Savoy. 
So now that i cannot do my original project in the way i wanted to, i have decided to create a piece which still keeps the savoy community involved i am going to do a survey on what the customers like there the most and what the customers want in the Savoy and i will try and provide it with a small label saying this was brought to the Savoy by the votes of 'The Blue Rinse Brigade'
So now that i cannot do my original project in the way i wanted to, i have decided to create a piece which still keeps the savoy community involved i am going to do a survey on what the customers like there the most and what the customers want in the Savoy and i will try and provide it with a small label saying this was brought to the Savoy by the votes of 'The Blue Rinse Brigade'
Roman Ondák
Roman Ondák’s work, which might take the form of an installation, performance or an intervention scarcely distinguishable from the context in which it is presented, often provokes a double-take in the viewer, making them question their perception or awareness of social codes. For one such intervention, called Good Feelings in Good Times (2003-04), Ondák created a queue of people that formed outside the main entrance of the Kunstverein in Cologne. The work was also shown at Frieze Art Fair in October 2004 where the queue formed, dispersed and regrouped in a series of random locations within the Fair.
I like how his work tends to blend in with the chosen site so not to disturb the usual within the site. His work can also be repeated in different sites as it will be different because of the context of the site, like in my idea for setting up my studio space in the savoy it can be done in other places and it won't be the exact same outcome as it has a different context.
I like how his work tends to blend in with the chosen site so not to disturb the usual within the site. His work can also be repeated in different sites as it will be different because of the context of the site, like in my idea for setting up my studio space in the savoy it can be done in other places and it won't be the exact same outcome as it has a different context.
Pawel Althamer
in the exhibition 'one of many' (curated by massimiliano gioni
artistic director of the fondazione nicola trussardi)
pawel althamer celebrates the human being in all its fragility.
for the polish artist, the human being is always the center of
our universe, a universe which can be transformed into a
fairy tale or an extreme spiritual experience.
fiction and reality merge and overlap to construct an eerie
world.for his exhibition, pawel althamer has used his own
body and his own image as tools to construct a different
relationship with the world. multiplying his identity in an infinite
crowd of idols, dolls, and disturbing puppets, althamer
populates the exhibition with human figures and mysterious
totems. like relics of some archaic and primordial world, his
sculptures investigate the meaning of basic, visceral human relationships and question the limits of identity.
‘balloon’, self-portrait aerostat, 2007
with these human sculptures althamer creates a visual
autobiography, portraying himself as a child, as a tiny
character in some ancient fable or as a monstrous and
hyper-realistic creature.
as in a family album, althamer sculpts portraits of his little
daughter, of his partner – represented almost as a giant,
pregnant athena – and of his new born son, who is reduced
to a little foetus.
‘self-portrait in a suitcase’ , 1996
in a different section of the exhibition, pawel althamer presents
nine videos, each of them reporting his reactions to different
drugs: poetic and fragmentary self-portraits, althamer’s films
document the altered states of the artist’s mind while
describing new and obscure magical rituals. with each video
he confronts the audience with a non filteredreality.
'skin' 1997
the park outside the palazzina appiani building becomes
also a stage. in front of the entry there is a huge self-portrait
of the artist - an aerostat balloon, more than 20 meters long,
presenting himself naked before the judgment of the public.
as if it were a village festival, althamer flies over the trees like
an UFO or an absurd, temporary public monument.
an african musician plays traditional folk songs,
which through a special audio system is distributed in the
exhibition and on the balcony that opens onto the sports
arena: ‘life is treated like a movie, complete with a soundtrack
– a film in real time.’
pawel althamer
the polish artist was born in warsaw in 1967.
between 1988 and 1993 althamer attended classes in the
sculpture department of the academy of fine arts in warsaw.
most of his sculptures are made with organic materials such
as grass, hemp fiber, animal intestines,wax and hair.
video performance ‘cardinal’, 1991
‘I feel such a distance from myself and the sculptures are a
kind of sign, and I use mixed techniques because I feel I’m
very mixed, mentally mixed, and by education I’m mixed.’
pawel althamer
althamer is also a performance and action artist / creator
of video art.
artistic director of the fondazione nicola trussardi)
pawel althamer celebrates the human being in all its fragility.
for the polish artist, the human being is always the center of
our universe, a universe which can be transformed into a
fairy tale or an extreme spiritual experience.
fiction and reality merge and overlap to construct an eerie
world.for his exhibition, pawel althamer has used his own
body and his own image as tools to construct a different
relationship with the world. multiplying his identity in an infinite
crowd of idols, dolls, and disturbing puppets, althamer
populates the exhibition with human figures and mysterious
totems. like relics of some archaic and primordial world, his
sculptures investigate the meaning of basic, visceral human relationships and question the limits of identity.
‘balloon’, self-portrait aerostat, 2007
with these human sculptures althamer creates a visual
autobiography, portraying himself as a child, as a tiny
character in some ancient fable or as a monstrous and
hyper-realistic creature.
as in a family album, althamer sculpts portraits of his little
daughter, of his partner – represented almost as a giant,
pregnant athena – and of his new born son, who is reduced
to a little foetus.
‘self-portrait in a suitcase’ , 1996
in a different section of the exhibition, pawel althamer presents
nine videos, each of them reporting his reactions to different
drugs: poetic and fragmentary self-portraits, althamer’s films
document the altered states of the artist’s mind while
describing new and obscure magical rituals. with each video
he confronts the audience with a non filteredreality.
'skin' 1997
the park outside the palazzina appiani building becomes
also a stage. in front of the entry there is a huge self-portrait
of the artist - an aerostat balloon, more than 20 meters long,
presenting himself naked before the judgment of the public.
as if it were a village festival, althamer flies over the trees like
an UFO or an absurd, temporary public monument.
an african musician plays traditional folk songs,
which through a special audio system is distributed in the
exhibition and on the balcony that opens onto the sports
arena: ‘life is treated like a movie, complete with a soundtrack
– a film in real time.’
pawel althamer
the polish artist was born in warsaw in 1967.
between 1988 and 1993 althamer attended classes in the
sculpture department of the academy of fine arts in warsaw.
most of his sculptures are made with organic materials such
as grass, hemp fiber, animal intestines,wax and hair.
video performance ‘cardinal’, 1991
‘I feel such a distance from myself and the sculptures are a
kind of sign, and I use mixed techniques because I feel I’m
very mixed, mentally mixed, and by education I’m mixed.’
pawel althamer
althamer is also a performance and action artist / creator
of video art.
Claire Doherty
Claire Doherty is a curator and writer who leads Situations, a research and commissioning programme, as Research Fellow in Fine Art at the University of the West of England in Bristol. The programme is devised to investigate the significance of context in the commissioning and production of contemporary art.
Most recently, she has edited Contemporary Art: From Studio to Situation, a major new book on the shift from studio-based art practice to the 'situated' practice, published by Black Dog. From 1995-2000, she was Curator of Exhibitions at Ikon Gallery, Birmingham; from 2000-2001 was Projects Curator at Spike Island and from 2001-2004 Associate Curator at FACT (Foundation for Art and Creative Technology), Liverpool. In summer 2005 she will curate the first Situations contemporary art programme in Bristol, Thinking of the Outside.
Her work relates to my project in the savoy centre a lot as i am trying to bring my practice to a place where it just does not exist normally and trying to get the community involved to influence my work without the site and situation my work would mean nothing.
Most recently, she has edited Contemporary Art: From Studio to Situation, a major new book on the shift from studio-based art practice to the 'situated' practice, published by Black Dog. From 1995-2000, she was Curator of Exhibitions at Ikon Gallery, Birmingham; from 2000-2001 was Projects Curator at Spike Island and from 2001-2004 Associate Curator at FACT (Foundation for Art and Creative Technology), Liverpool. In summer 2005 she will curate the first Situations contemporary art programme in Bristol, Thinking of the Outside.
Her work relates to my project in the savoy centre a lot as i am trying to bring my practice to a place where it just does not exist normally and trying to get the community involved to influence my work without the site and situation my work would mean nothing.
Tuesday, 10 February 2009
Meeting with the Manager of The Savoy
Yesterday i had a meeting with the manager of the Savoy Centre manager he seemed very interested in working with me and has agreed to give me the space i want and need, i also proposed the idea of an exhibition space within the Savoy Centre in the near future and he also seemed very interested about that also. Then he got talking to me about maybe sorting out some kind of mural of perminant sculpture piece in the ramp area in between the floors in the centre, and i have had a meeting with the man in charge of the GSA mural society about it (Christopher). Hopefully all of this will go to plan and i will have my public art project running smoothly and i will have a long term relationship with the Savoy Centre i hope.
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