DR (The Danish Broadcast Corporation) has a daily programme of 25 minutes interview called VITA. It is a programme that I love to hear and that I admire a lot. When I went to Denmark this July/August I was interviewed by Helle Solvang about the art scene in Copenhagen and in Santiago and also a bit about how to let life take shape in a foreign country: VITA 1. September 2009
By Helle Solvang – Airsquare in Copenhagen on the day of recording
Filed under: Kunst / Art, Santiago stories, bla bla on writing and language
Nicolas Cadavid is a Colombian artist living in Santiago and editor of the Colombian magazine La Caja published electronically by the art collective Galería LaMutante. Nicolas made me aware of the theme of the second issue:
Acá no somos de esos, which animated me to write an article about the exhibition Honesta Anatomia by the Chilean artist Florencia Grisanti:
Since Gavin Butt gave his talk Should we take Performances Seriously? at the PSI 14 conference in Copenhagen and since I saw the nutrition guru Anne Knudsen Larsen on the front cover of the Danish weekly Søndagsavisen I have been thinking; which one of these moments of “kissing fish performance” is most odd?
So, we are watching this Antonioni movie, I tre volti. She looks like my mother, as young. We’re in an auditorium. There’s a cat on the floor.
It’s her lips, the lower one is ”dripping.” She’s calling her mother, she asks her to come. She’s alone, perdida en el mundo, sentimentalismo puro (a mí, no funcione). She asks her to come. In German. She’s a young German girl in Italy trying her way as an extra, as an actress.
The quality is bad, there are no subtitles. But how she looks like my mother.
”Why are you suspicious, I have the impression that you are very cold? Why do you want to be an actress?”
After the film he talks about participation, about a moment of fascination between a public and 3 melodrama actors. They believe, the public. Like my sister. We once went to a theatre to see Medea. When Medea killed her to kids, raised the theatre knife and stabbed them, my sister screamed. She believed. Her husband, a film director, always says she’s the best public ever, because she really believes. Yesterday she had her second kid and she never watches the tele at night in order to sleep undisturbed by the reality the tele brings her.
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Neorealismus – that the actors participate. The moment where the actors believe, act what they are acting – or the other way around.
The gesture of pointing to the screen and saying to his wife; ”look, look, look what’s gonna happen!” Cada vez – otra vez, it happens again for the first time.
We don’t just perceive fictional worlds from without, we live with them, sharing their sorrows and joys. We are perfectly aware they’re fictional, but from within they look real.
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Now the cat is cuddling his leg.
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El participación en la obra del arte es constitutiva. The artwork exists in this tension, in this difficulty of being within these two, inside and outside, real and fictional, of being constitutive.
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Ambigüedad con el arte
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(Inspired by the lecture “Quasi. Antonioni y la participación en el arte” by Alex Düttmann at Universidad Diego Portales, Santiago)
Check the new SUM #3 magazine for contemporary art – an international magazine in danish and english published by U-turn Quadrennial for Contemporary Art and the Royal Danish Academy of Fine Arts
this time the theme is on re-enactment and i’m participating with an article on Black Audio Film Collective/biography/re-enactment.
the magazine is available in selected bookshops and museums.
enjoy!
Filed under: Dagens ord / Word(s) of the day, Kunst / Art, The Love Libration Movement, bla bla on writing and language, never written books - or telling titles
Hvad jeg gerne ville skrive om på bloggen lige nu:
En intro om at læse en intro, der udreder et kludret og endeløst forgrenet stamtræ, som vokser og vokser og bare bliver ved og ved og er kortlagt bagest i bogen, så man bladrer frem og tilbage og repeterer på vejen, men forstår kun lidt – min intro ditto.
Om det hemmeliges potentiale som værende det ultimative skabelses-frirum i en kunstnerisk kontekst
Om Walid Raad, “performance as faith” og Raads fascination af enkeltpersoner i historien.
Om at vågne op og ikke vide hvem man er eller hvor man er, men være sikker på, at det er juleaften.
Filed under: Kunst / Art
“Artists, art worlds, and artworks are three very distinct ontological categories, but a brief glance over the discourse of black art criticism at various moments in the 20th century – from the Harlem Renaissance of the 1920s, the Negritude movement of the 1940s, to the US Black Arts Movement of the 1960s – shows a consistent emphasis on the first and the second elements that tend to undermine the quality of attention given to the third”
p. 138
“The rehabilitation of Duchamp by the American neo-avant-garde was as crucial as the late 1960s re-assesment of Russian constructivism in the institutional-critique that animated conceptualism”
p. 153
Mercer, Kobena in “Tropes of the Grotesque in the Black Avant-garde” in Mercer, Kobena (ed.) Pop Art and Vernacular Cultures, London / Cambridge : Iniva / MIT Press, 2007
India Song (1975) by Marguerite Duras - 1 minute and 3 seconds are now available on YouTube
the music, the painful cry of one of marie stretter’s abandoned lovers, the incense, the sense of death, the slowness and the spatial use of the mirror. isn’t it great
(a former comment on India Song)
