WOMBENHOOD

VISUAL RESEARCH

ZINE 003

FORCED COLLABORATION
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VISUAL RESEARCH
A digital sketchbook/notebook

This page is a way to archive online based research during the third academic year in the BA Fine Art course.

Being a visual learner I prefer to have an image-based link for my memory to connect concepts and content.
It can also be seen as an online sketchbook. 

RESEARCHING TERMS

- UNCANNY

- DEFINING TERM COLLABORATION IN ART PRACTICE

The methodology of research
Chronology of links and web pages that brought

me to the daily read

 What we made: conversations on art and social cooperation,
by Tom Finkelpearl

https://go.gale.com/ps/i.do?id=GALE%7CA456100800&v=2.1&u=nene_uk&it=r&p=AONE&sw=wPDF

RESEARCHING TERM

UNEXPECTED

UNCANNY

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https://www.ecosia.org/search?q=UNEXPECTED&addon=chrome&addonversion=3.2.0&method=topbar

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THE UNCANNY AS AN AESTHETIC DISCOURSE

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"It is only rarely that a psychoanalyst feels impelled to investigate the subject of aesthetics even when aesthetics is understood to mean not merely the theory of beauty, but the theory of the qualities of feeling." (Freud 1991,1)

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Unheimlich; sotto | Valeria Medici | 24th August 2020

RESEARCHING TERM

MEDIUM

MEDIUM
The material(s) used to make an artwork.

The substances to mix pigments.

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This one here is a pertinent quote for my own practice. Ever since I've started my research (2018) I wanted to eliminate the viewer in search for a more intimate a human connection between what I made and who was there before it. Interaction can happen if there is an understanding between the two parts. How can there be an understanding if there is no clear message in the so-called 'artwork"? Isn't this the main issue of contemporary art? The impossibility to read its aims, the purpose of the piece? I'm not interested in the celebration and admiration of my ego. I crave connectivity and social change.
 

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RESEARCHING TERM

DIALOGICAL

DIALOGICAL 

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'(...) the dialogic emphasis on experimentation and exploration of  meaning through talks seems cogent.'

(09:53)

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'(...) dialogic perspectives on learning offer a provocative theoretical disruption. It challenges the assumption of learning as an atomized individualized event which occurs within the individual. It instead situates thought and understanding as something that emerges in the spaces in between individuals. When they are allowed to engage in open and supportive exploratory dialogue. In this sense, a seemingly contained teaching practices bring with them implications which productively trouble some of our core assumptions in Wester educational practice.'

(10:14)

DIALOGICAL 

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'(...) more productive talk that which is dialogic or exploratory, characterised by an open endedness, it's one in which participants actively co-construct meaning by attending to the detail of arguments without an overwhelming concern with reaching a given endpoint. And in doing so to master the particular language embedded logics of their domains of study.'

(08:42)

Research

ETHONOGRAPHER - Hal Foster  | recommended by A. Hewitt

With Notes

Foster, _The Artist as Ethnographer

annotation by Brandon Hopkins

Foster, _The Artist as Ethnographer

annotation by Brandon Hopkins

Reading for The Project about menstrual cycle

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Hills, M. ​

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Learn Adobe Illustrator to make Wombenhoods' logo

Starting with the easy tutorials

After the Leaf and the camera shape's tutorials I had a go at attempting the first Wombenhood's logo prototype.

And here it is, the logo prototype with a few variations. It needs to be approved by the group ;)

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My struggle is to create a clear and easy to navigate the way to work on specific tastes especially now that I am collaborating with many people on Wombenhood.
Rhianne has suggested looking at Trello. So here we go.

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Day one on Trello. Let's see how is this going to work for us. It does seems promising. Certainly without the tutorials I would be seriously lost

Allan Kaprow

The instructions to make an Happening.

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Isn't that curious and somewhat paradoxical that there is an exhibition in an art gallery of Allan's Happenings, specifically designed to happen only once, not in a gallery space, connected to everyday life?

Antony Gormley: Field for the British Isles

16 November 2019 - 8 March 2020

'Having a conversation through touch with the maker'
 

'In this work, every piece is a value because it is absolutely distinct. Within the trajectory of each person's making, every work is a particular moment, a particular time, a particular touch.'

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'People come with their own interpretation, with their own projéct another form of collaboration.'

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[His studio] 'It's a collective creative community. The making of Field was the first and maybe most clear expression of a longing for sculpture (..) to be a participatory activity.'

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Defining Dialogical art 

Grant Kester Delivers the Keynote Adress @ the Art of Collaboration Symposium - Part 1

October 22-23, 2009 at the UC Santa Cruz Digital Arts Research Center

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What is dialogical art | See Kester’s youtube video: (9:44) Space name Dialogue. This definition is perfect!!!!! 

QUOTE
“The center’s name is Dialogue (DIAA_Dialogue Interactive Artists Association in Kopaweda) which reflects a key component of their creative philosophy. While their projects often takes physical form,  usually spaces is related to collective activities like children’s play or water collection, they are equally concerned with the processes of reciprocal learning generated in the planning and creation of these spaces, as well as the form of social interactions catalyzed by their subsequent use.’
Grant Kester Delivers the Keynote Adress @ the Art of Collaboration Symposium - Part 1, (2009) at the UC Santa Cruz Digital Arts Research Center. (09:44) https://www.youtube.com/watch?v=cwioJXc_8_o&t=139s

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QUOTE

“(..) after finishing Conversation Pieces (2004) it seemed as if there was an increasing interest in art in collaborative, participatory, collective art practice and it was a curious phenomenon to me and I wanted to figure out why there were so many people working in this manner, what was the significance of this bot in term of art practice but also maybe the broader political significant of the fact that especially a younger generation of artists over the last 10 or 15 (2014/2019) years has increasingly turned to working in groups in one form or the other.“
Grant Kester Delivers the Keynote Adress @ the Art of Collaboration Symposium - Part 1, (2009) at the UC Santa Cruz Digital Arts Research Center. (01:04) https://www.youtube.com/watch?v=cwioJXc_8_o&t=139s

gkester@ucsd.edu.  https://ucsd.academia.edu/GrantKester

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FIELD: 

What is social engagement?

What is this branch of socially engaged art practice I am interested in?

If there is not enough material and artists to mention, it shows there is space in developing dialogical social practice.

The reared need to say that he now understands what the dialogue in art is.

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Dialogical; Discourse is the artwork.  Is the process. 

TERM: Process-oriented art practice

(http://www.dialoguebastar.com/correspondence-between-grant-kester-and-navjot-2008.html)

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gkester@ucsd.edu

https://ucsd.academia.edu/GrantKester

Researching dialogical

dialogical artist_ Stephen Willats and Control Magazine

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Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.

Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices.

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Control Magazine’s function has always been to provide a resource for artists to discuss their work and, in particular, to make connections with other disciplines such as social or computer sciences, technology etc. Its eighteen issues provide a unique record of a specific area of art practice over four decades and this non-profit making publication has had an acknowledged influence on the practice of artists.

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http://www.stephenwillats.com/work/west-london-social-resource-project/

Political or Politicized?

Understanding the difference between terminology to locate my social practice.

Today's I've joined a PPRE/ARG meeting and the discussion lead me to research and start to grasp a few questions on my social practice.

HOW is my practice political?

WHERE is my practice political?

The difference between political and politicized.

This is more thought, a sensation than a certainty. As an emerging artist, I perceive my lack of knowledge on the subject and I am even more saddened that I was never fully introduced to this concept in my three years in university. 

Every subject is political Not in the sense of right and left wings of politicians, conservative, or labour. But in a deeper sense. My interest is an art that can bring societal change. For this to happen it has to be inevitably linked to politics. 

When artists working in local communities, in schools, when projects are focused on ecology, climate change, global warming, issues linked with poverty and so on, this is politically charged. I feel there is a failure in acknowledging this reality as if art has to be parted from politics. Which I fear is contributing to the alineation of art from society by this misidentification of the values of art. This concept is not peer-reviewed, it isn't linked as yet with any theories of social practice. It emerges from my own experience in leading a collaboration based on dialogue, using making processes to impromptu and initiate the conversation on the societal taboo of menstruality. This question has also largely taken form after today's conversation at Re-Imagining Citizenship.

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'What's the difference between Political (capital p) and political? = Political VS political"

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'What's the difference between Political and Politicized approaches (in art practice in my instance)?"

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"What's the difference between left/right-wing politics and politicised art?"

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As Gillian Whitely rightly expressed, there are a few questions I should ask myself as a social practitioner:
 

1. How is my art political?

2. Where do I operate for this art to be/become political? Where do I work as an artist (inside/outside institutions, elsewhere?)

3. What does the art practice do?

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Brutal Aesthetic

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Hal Foster - Kent Minturn - Eleanor Nairne (Barbican) - David-Peter Corbett

 

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Group Critique Stefan Gant

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Artists Research

CECILIA VICUÑA​

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Kon Kon (2010), film 

The film by Cecilia Vicuña is about the connection with the sea and the land and she also talks about menstrual blood being a part of nature itself.

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https://americanart.si.edu/events/women-filmmakers-festival/2021#cecilia-vicu%C3%B1a-91152

Film to be watched. 

Also available on Vimeo at £0.80 for 1 week streaming period

https://vimeo.com/ondemand/konkon/150491675

Particular comparison and possible strong connection between the sea tide and the menstrual cycle as the red tide.

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An event I think I will book: https://art-earth.org.uk/high-water/?fbclid=IwAR29eXflkE7aUM3lxaxbBNXc9j_CdZhgmpQVXsGVaMWQPXbI6HjoBk23i-U

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1:1 Tutorial Michelle Keegan_4th Mar 11:00 - 11:45

Q/1

How do I want the audience to feel? (while in the gallery space before the work installed)

Point/2

Some people by hearing the word menstruation run away. I might have to allow, provide a private space where to listen to the conversations.

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Point/3

The install can happen in 2 different spaces: a space for the display of the knickers, and the space for watching the videos of the conversation.

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Professor Julie Fish DMU

Health inequalities

https://www.dmu.ac.uk/about-dmu/academic-staff/health-and-life-sciences/julie-fish/julie-fish.aspx

Zoe Backman

She used tied knickers embroidery bodily stuff. Her displays are interesting  

https://www.zoebuckman.com/work/every-curve-art/

Mark Dion= museum quality of archive

https://www.tate.org.uk/art/artists/mark-dion-2789

V&A_Ran from 16 April 2016 to 12 March 2017

Undressed: A Brief History of Underwear

https://www.vam.ac.uk/exhibitions/undressed-a-brief-history-of-underwear

Cataloguing

Jillian Dickson_ depicts the reality of women’s underwear

Elon university Indiana (USA)

https://hifructose.com/2017/03/29/jillian-dickson-depicts-the-reality-of-womens-underwear/ 

My Flannel Knickers

October 30 - December 5, 2020, Sargent’s Daughters

Interesting display 

https://www.sargentsdaughters.com/my-flannel-knickers

The V&A’s New Exhibition Is Showing Our Knickers, OLIVIA MARKS

15 APRIL 2016

https://www.refinery29.com/en-gb/victoria-albert-museum-underwear-exhibition 

Museum- display- intimacy - how do I want the viewer to feel? How do I make the viewer experience the work? I

Archives and Identities Workshop by Jaseleen Kaur

SOUTH LONDON GALLERY

Ingrid Pollard:

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Alexis Pauline Gumbs, Seek the Roots: 

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Hannah:

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Emma Akinlusi’s

Unfettered archives 

Unloop past stories like uncoiling tape 

Digitised tapestries neatly hide unseamly edges

 Greyed out images appear resolute and uncanny 

A thirty year anniversary 

Memorialises a memory 

A life time ago a dear life ended too early 

Proclivities for creativity, writing and dramaturgy 

Undusted for unfurling by the many

 A man of both science and religion

 Imbibing his own renaissance story

 A biography which has an ending is a misnomer

 The findings are spun out, 

unfettered and continue beyond oblivion 

As a stone ricochets over water

Jaseleen Kaur: https://claireratinon.substack.com/p/i-dont-belong-here

Erica Scourti, who uses text utilising twitter, phone etc.,

http://www.ericascourti.com/

Diasphora

Erica Scourti, who uses text utilising twitter, phone etc.,

“Compulsion to the backwards”

Question for the rooms

what’s the role of creative practice in archiving, the role of fictioning or queering the archive

Podcast on participatory art https://open.spotify.com/episode/1B3JI0Wx2nZFbMTYNRB6JQ?si=2dPtskP0TB6ulc4TFYW7vA&nd=1

Ideas:

“Home as archive as reflections of you”

“Films as archives of reflecting us”

Horizontal hierarchy is a wonderful way to agitate the order of a gallery space.

Jugalbandi, Alia Syed + Jasleen Kaur 

https://transitarts.co.uk/wp-content/uploads/2021/02/DOWSER-Issue-3-%E2%80%93-Digital.pdf

Jugalbandi, Alia Syed + Jasleen Kaur 

Gail Lewis Birthing Racial Difference 

https://www.mamsie.bbk.ac.uk/articles/10.16995/sim.112/ 

Alia’s film 

https://www.bbc.co.uk/programmes/articles/133Tg4Y24cYs7zZMHKNT94/points-of-departure-by-alia-syed

1:1 Tutorial_Craig_ART 4013_11th March 2021

Thinking about installing Wombenhood.
Documentation Wall

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Stephen Willats speaks about his exhibition at Galerie Thomas Schulte, February 2018

https://www.youtube.com/watch?v=8rVN5HR-I14

Very interesting usage of arrows drawn on the walls with a pencil. Is this a quick and effective usage of lines? Why do I need fabric to create hexagonal shapes? I do adopt sketching and drawing in my practice much more than I adopt textile-based or physical installations. It seems a much more relevant medium than fabric or strings.

Pablo Helguera_Education for Socielly Engaged Art

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This is exactly where I am at in my evolving practice.

Tania Bruguera and Tate Neighbours – The Art of Social Change | Tate Exchange

https://www.youtube.com/watch?v=9TI9QSAs9gs

In their instance, the collection of people's responses was handwritten in pieces of a huge puzzle which I assume will have then be united.

It is possible that the way I am adopting the hexagons is serving a very similar purpose: to unite participant's responses in a meaningful shape and overall united cluster.

Researching Documentary short videos of artists introducing their practice and work

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Mona Hatoum: Terra Infirma

https://www.youtube.com/watch?v=H-xKU_v6Qc4&list=PLMJcbVCnLD4o3ko6XeSzDncl7nmxZmBLI&index=29

Duration: 00:05:39
- The artist show in a classic interview setting and is the only one talking throughout the video.

- She talks while in the gallery space with her installation behind her. 

- Shots of the exhibition and the public.
- Shots of each artwork she talks about as she speaks.
- Her selecting and unpacking some artefacts in the installation process.

- Detail of the curatorial stage with the artist and (assumingly) curator handling and positioning smaller versions of the works in a 3D maquette.
- Establishing shot of the gallery space and surrealist exhibition the Moana refers to.
-Ambient noises come from the interview and the gallery space too.

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Audio Transcript click to view

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Stephen Willats Endless exhibition
speaks about his exhibition at Galerie Thomas Schulte, February 2018

https://www.youtube.com/watch?v=8rVN5HR-I14

Duration: 00:08:13
- The artist doesn't show in the video although he's the only speaker.

- The exhibition is filmed with no audience present.
- The background noises are only from the interview room. NOt from the gallery space.

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Audio Transcript click to view

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Suzanne Lacy – Silver Action | BMW Tate Live

https://www.youtube.com/watch?v=LMO-o9zZWC0

Duration: 00:03:55

- Establishing shot of the empty gallery space. Transition from columns to the room full of participants (audio from the room full of people).
 

- Artist's voice over on the room.

-Artist also recorded in a classic interview setting hosted not in the gallery space.

-Shots from the past workshops in seemingly the same room Suzanne is interviewed in.

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- Three participants were interviewed in another room made a contribution specifically for the video.

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Audio Transcript click to view

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Extremely important for me as well. The content or the brief/topic is what is relevant. It is the reason to start creative thinking and making.

Important point. Possibly one to focus on in the future.

This entirely expresses my vision, my practice, my method (!)

A Conversation with Judy Chicago and Suzanne Lacy_2007

https://www.youtube.com/watch?v=stVbdXdDSlE

Duration: 00:05:57

-This can be an interesting way to trim the conversation elements of my video documentary

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- This is a two-people-conversation at a conference.

-Images of works and gatherings are edited in with their voices in VO.

Audio Transcript click to view
 

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Quotes

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"...it was from the beginning of content-based pedagogical method, find your content and select the media that best express that content.

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...Very often is content that motivates women whereas, for man, it's usually form or technique."  Judy Chicago (3:07)

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"I think one of the tenants of feminist art as certainly as I was interested in seeing it develop and tried to practice myself, was that the work needed to address issues of that, people cared about, in a way that people could understand, with the goal of making change." Judy Chicago (5:21)

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Judy Chicago – ‘I’m an Artist and a Troublemaker' | TateShots 2017

https://www.youtube.com/watch?v=NlH85Kgdnq0

Duration: 00:06:01

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- Interview

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Audio Transcript click to view

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Judy Chicago on “Womanhouse”

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Duration: 00:35:54

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- Interview on greenscreen_white background.

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Audio Transcript click to view

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https://auraldiversity.org/about.html

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Launch of Institution as Praxis in conversation with Pujita Guha, Carolina Rito, Abhijan Toto, Farid Rakun and Bill Balaskas.

Available to stream until 19 May, 7 pm GMT

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https://www.ica.art/digital/cinema-3/watch/institution-as-praxis-watch

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(24:34-26:17) Farid Rakun: "There is a lot of invisible work that a lot of times is not interesting to share, it's not sexy in any way but it's actually where our work lies in right now. A lot of times even myself I need to be reminded by my friends that this type of logistics, administration, it's not something that is supporting exhibitions or collections [ in museums with collections]  or what people understood as artistic practices, but it is actually artistic practice itself. It is in there already. A lot of times even I need to be reminded that much."