recentpopularlog in

robertogreco : salrandolph   8

Soulellis: Artistic Practice in 24-Hour Light Rhode Island...
"Artistic Practice in 24-Hour Light
Rhode Island School of Design
Reykjavík, Iceland
14 June – 4 July 2017

Artistic Practice in 24-Hour Light is a course for 13 students in Reykjavík, Iceland. The three-week program is modeled as an artists’ residency and collaborative creative practice, culminating in a public happening. Students will develop their own work, with guidance and support from the instructors and visiting artists. We begin with a series of open prompts, developed as a collaborative teaching tool with Sal Randolph, to bring city/landscape/place into the studio. The course encourages seeing, writing, thinking, and making, towards the development of a new work (or a small body of work).

Continuous solstice light and a vibrant artists’ community will be the context for on-site experimental making, engaging with public, and performing publishing. Our studio will be located at Iceland Academy of the Arts. This intensive course investigates new ways to make poetic work in response to place, using wild terrain, white nights, public space, the street, studio practice, the internet, and one of the world’s oldest continuously functioning democracies as our studio at large. 

With visits to Hveragerði, Snæfellsnes, Vatnasafn, and Hvalfjörður. 

The program concludes with a performative event, to be staged at Mengi on our final night.   

With guidance from Bryndís Ragnarsdóttir, DIspersed Holdings (Sal Randolph & David Richardson), guest artists, and writers. 

[via: "trying to run it like an artists' residency, with guidance but lots of freedom."
https://www.instagram.com/p/BVpR3HCnIbO/
2017  paulsoulellis  iceland  risf  reykjavík  art  design  residencies  openstudioproject  lcproject  classideas  salrandolph  happenings  creativity  writing  travel  collaboration  making  workinginpublic  thinking  poetry  artbooks  aritistsbooks 
june 2017 by robertogreco
Web-to-print-to-street
"1
An experiment in making public by Paul Soulellis
OPEN SET Summer Design School
V2 INSTITUTE FOR THE UNSTABLE MEDIA
3 AUG 2016 10–18

When considering the future of publishing, why not look to the street? Tracing the act of “making public” in physical space is a trajectory that stretches back as far as urbanity itself. Spoken, written and visual language evolved in spaces of assembly and commercial activity, and flourished along trade routes; the distribution of media is intimately tangled up with the history of built environments and the movement of people, goods and services. And it’s this connection between the physical body and the circulation of information that bears examining: since material now flows along immaterial networks, might we look to the artist performing in public as a new site, or perhaps a re-siting, of publishing activity?

Let’s re-visit the street as a modality for making public. If we define publishing as the filtering and amplification of material, then public space is an obvious place to find this activity, bound up in material and performative notions. The urban street is a market of materialities: a mesh of connected systems, infrastructure, and networks. Like the internet, the public street is an open, flowing landscape where extreme conditions of chance and restriction exist in constant negotiation. These distinctions between physical and immaterial space, once easy, now break down in the street, where every citizen is a node on the network.

“Web-to-print-to-street” is a one-day workshop where we will take an inventory of possible moves in the street, from posting to stacking to dropping to hand delivery. Publishing is performed continuously on social media, so as material boundaries blur and blend, let’s consider the literal translation of network culture into physical space as an acta diurna (a daily act). Our site is the city of Rotterdam and we have countless publics available to us. For a few hours, we’ll examine our own networks and feeds for worthy material, considering the effects of selection and printing on the value of our work. We will experiment with simple moves that “de-amplify” our content, moving it from fast social media to slower rooms of sociability. Our goal is discovery: what kinds of publics and performative techniques are possible? What are new strategies for slowing down attention in the physical encounter?

READINGS

Workshop PDF
Michael Warner, “Publics and Counterpublics,” 2002.
Annette Gilbert (ed.), Publishing as Artistic Practice, Sternberg Press, 2016.
Susan Stallman, “The Ethos of the Edition: The Stacks of Felix Gonzalez-Torres,” Arts Magazine 66, 1991.
Michael Bhaskar, The Content Machine: Towards a Theory of Publishing from the Printing Press to the Digital Network. New York: Anthem Press, 2013.
Seth Price, “Dispersion,” 2002.
Paul Soulellis, “Performing Publishing: Infrathin Tales from the Printed Web,” 2015.

2
REFERENCES

Post
Jenny Holzer
Norman B. Colp
Stephanie Syjuco
Brian William Green
Julia Weist
Drop
Flugblätter (flying leaves)
Aram Bartholl Dead Drops
Sal Randolph’s Free Words
Anastasia Kubrak
Little Free Library
Stack
Edson Chagas / Tankboys
Felix Gonzalez-Torres
Perform
Town crier
David Horvitz pickpockets an art fair
Weymouths
Anouk Kruithof’s Pixel Stress
Facebook Live Map

3
WORKSHOP

10–11:15 Introduction and discussion
11:15–12:15 Filtering
12:15–13:30 Break
13:30–14:30 Production (Print! Assemble!)
14:30–17 Amplification! Make public.
17–18 Share, celebrate, publish."
paulsoulellis  design  publishing  public  makingpublic  printedweb  papernet  social  sociability  sharing  classideas  jennyholzer  juliaweist  salrandolph  deaddrops  arambartholl  anastasiakubrak  littlefreelibrary  towncrier  davidhorvitz  weymouths  anoukkruithof  pixelstress  facebooklivemap  edsonchagas  tankboys  normancolp  stephaniesyjuco  brianwilliamgreen  michaelwarner  annettegilbert  susanstallman  michaelbhaskar  sethprice 
august 2016 by robertogreco
The Uses of Art: Little Beasts | The American Reader
"Let us in our imaginations allow all this critique and disappointment to raze participatory art to the ground. Let us do away with it along with the other outmoded utopias. We live now in a world so saturated with the engagement (post, snap, tweet, comment, yo) that even commenting on that situation has become superfluous. We might think of ourselves as in a post-participatory condition. In mood, there is little hope. Change occurs as fitfully as it always has. Personal transformation passes through us convulsively, but cure eludes.

If we destroy as much as we can, oddly, the sense of possibility pokes back up, stems of quackgrass in the rubble of a vacant lot. Pretty soon we have a post-apocalyptic grove of frondy locust trees to contend with. There is something stubborn and persistent that remains, some reason that people keep trying to do this impossible thing.

Participatory art survives and not just on the margins. The less hope we have for art’s political and social efficacy, the more hyper-optimistic work appears and proliferates, under new names and old: Durational Performance, Neo-situationism, Intervention, Social Practice, Socially Engaged Art. Sometimes it’s just called “art.” Often it takes the form of “projects” which try to escape claims in relation to art history or art discourse.

Whatever we think of its chances, participatory art is an explicit antidote to the extreme narcissism of the ordinary material work of art. Walking through white cubes it becomes obvious that the expensive celebrity objects in our museums and galleries do not need us. That’s what they proclaim in their serenity and their stillness. They exist outside of time, complete unto themselves. We are patient before them, ready to be affected, but we cannot affect them in turn. Landscapes shimmer, the depicted stare out, bodies present themselves for our gaze. But the artwork fundamentally doesn’t care whether we are moved or indifferent, aroused or disgusted. It doesn’t even care if we look at it or turn away. It is unchanged by ignorance, by knowing little nods, by crowds of swooners, by expert dismissals. It sails on through time, accepting its preservation, its custodial care, as its due."



"Clark, along with several contemporaries in the influential Brazilian Neo-concretist movement (Amilcar de Castro, Ferreira Gullar, Franz Weissmann, Lygia Pape, Reynaldo Jardim and Theon Spanudis) argued for an art that was “always in the present, always in the process of beginning over,” an art which brought back “a primal—total—experience of the real.” Beginning in 1960 with her series of Bichos (beasts), she made the leap from ordinary geometric abstraction to objects meant to be handled directly by the viewer."



"Clark and other participatory artists are part of a long tradition of demystification—of deliberate attempts to destroy the mana of the work of art by treating it casually, and in so doing to destroy the political gradient between the work and the viewer. In this way, participatory art aims to change the deep structure of the art experience.

To the extent an artwork signals its hierarchical relation to the viewer, to the extent to which it is considered more valuable (financially, absolutely) than the viewer, the form of relation it offers can overwhelm any subversive “content.”

Clark’s Bichos, by demanding touch and rearrangement, propose that art can move from icon or totem to toy. A toy acts intimately. A toy does not and cannot rule its player. It can only invite. As Johan Huizinga suggested in his classic Homo Ludens, play is a free activity. “Play to order is not play: it could at best be a forcible imitation of it.”

This, in potential, gives another register to my self-consciousness and my failure to fall immersively into play with Clark’s Bicho. Between me and the Bicho is a question, a field of possibilities. It is precisely in uncertainty, in the possibility of saying no, or being unable to play, that the desire for real relation can be discovered."



"As I move the plates and hinges she says: “You are the artist, you can make whatever you want.” Generally, this is a sentiment I like, but here it strikes me as missing something crucial. It encourages you to notice your own agency but obscures the curious counter-agency of the object in your hands.

Kids, she says, are better than adults.

“Better at playing?” I ask.

“They ask permission. The adults, if they push too hard, they could break the piece.”

Even though the guard is friendly, and easy with me, her watching makes it even harder to really play. I don’t feel like either an artist or a child."



"As the Sixties ended, Clark moved away from art and especially from museums and galleries. She shifted her work to a class she taught at the Sorbonne in Paris on gestural communication. There, she developed new “relational objects,” sensory prosthetics, and experimental rituals. Imagine a group of Sorbonne students enacting Baba Antropofagica (Anthropophagic Drool), unspooling thread from their mouths and layering a tangle of saliva covered strands over a fellow student, or picture them blindfolded and trying to eat a piece of fruit from a pouch of another student’s suit.

In the milieus of Paris and Rio, rich with psychoanalytic theory and practice, Clark began to call her work psychotherapy, and when she moved back to Rio de Janeiro in 1976 she worked privately with therapeutic participants in a project she called Estruturação do Self (Structuring the Self).

In the account of Suely Rolnik, who knew Clark and has written about her extensively, “[Clark] dedicated a room of her flat to a sort of installation, where she received each person individually for one-hour-long sessions one to three times a week over a period of months, and in some cases, even a period of years. The Relational Objects were the instruments conceived by the artist to touch the bodies of her ‘clients,’ as she referred to those who were available to experience this proposal. Naked, they would lay on one of those objects, the Grande Colchão (Large Mattress), and the session would begin.”

Although Clark called this private practice therapy, she also said that she never stopped being an artist. Estruturação do Self opens the possibility of a way of art which is not merely participatory, a form of art in which the body of the artist is copresent with the art object and with the participant in a mutual relation. Too intimate, perhaps, for most. When I imagine it, I keep picturing the sensation of being covered with drool-soaked strands."



"Clark says, “True participation is open and we will never be able to know what we give to the spectator-author. It is precisely because of this that I speak of a well, from inside which a sound would be taken, not by the you-well, but by the other, in the sense that he throws his own stone.”

My own stone falls as into a shallow street puddle. Thudplop.

The problem is one of time, and of giving in. I can’t seem to give into the Bicho’s time. Its movement, yes, its lived time, no. Maybe for others this lived time would emerge more easily. Perhaps if I were a child, the fascination of the changing forms would absorb me totally. Maybe they would become dreams and stories. I want them to.

It’s as if I need the Bicho to step forward like a pet and command my attention, butting my hand with its head. Yes, now, play with me, no, don’t stop petting, don’t stop throwing the ball."



"Wanting to walk with her, I rummage around my studio for a roll of adding machine paper, glue up some Möbius strips and go out for coffee while the glue dries. When I come back, I begin cutting. “Pierce,” says Clark, so I stab the paper with the open blade and start. My scissors aren’t the best, they’re sticky and the grip seems to be made for child aliens, but despite that I am soon in a rhythm of cutting. I think of the tiny blunt scissors I saw in the hands of visitors at MoMA. I cut and cut, going around. As you meet your original cut, where the scissors have torn awkwardly into the paper, there is a choice, cut to the right or the left. I go left and steer towards the edge, to preserve as much thickness as I can. As I come around to that mark a second time I realize I’ve mistaken the geometry for a loop, my left and right are now reversed, and I’ve saved nothing. Keep going. It is indeed a little like walking. And like making. There’s a shivery doubling or layering of experience—walking is making, making is playing, mine is hers. It doesn’t much matter in that moment whose the making is, Lygia Clark’s or mine. I know I’m not having as romantic an experience as she might hope for, but there, in my studio, as the ribbon of adding machine paper gets thinner and thinner in a geometry that quickly escapes my full imagining, something is happening that wouldn’t otherwise happen. From my scissors, a tangle that is one continuous piece of paper collects at my feet, a paradox object. The making of the object is not in service to the having of the object. There is a sense of going somewhere and nowhere at the same time. There is the hope of being able to go on forever as the paper narrows and narrows until one tiny slip severs the piece and you know you’re done."
salrandolph  art  participatory  lygiaclark  walking  sensoryprosthetics  glvo  babaantropofagica  play  making  doing  conversation  audiencesofone  toys  learning  touch  rearrangement  homoludens  possibility  possibilities  uncertainty  unfinished  demystification  interaction  taboo  situationist  socialpracticeart  performance  prosthetics 
july 2014 by robertogreco
Sal Randolph: A Call for Migratory Objects
"Do you have an object whose story you would like to share? An heirloom, an artwork, a toothbrush, a stone? An object which has inspired you, dominated you, educated you, exalted or degraded you? For our second exhibition of the Migration year, we invite you to lend us your object and include with it everything you know about its migratory story.

These objects will be our starting point for a three-month exploration of the Migration of Objects. We will view them as independent beings with stories of their own, stories that began before the object’s encounter with you and that will likely continue long after you part. Your story of the object may start with you but may necessarily migrate into the economic, the industrial, the political, the historical, the geologic, the environmental and so on.

Anyone can play. Here’s how it works:…"
salrandolph  objects  storytelling  migratoryobjects  art  stories  migrationofobjects  proteusgowanus  exhibitions  crowdsourcing  classideas  writingprompts 
november 2011 by robertogreco
Leigh Blackall: Situated art, situated learning - En Route by One Step At A Time Like This
"I think the artistic intent of these concepts could be enhanced with study of Joseph Beuys' work, particularly the Free International University, as well as Situationist International and their desire to create environments for discovering and appreciating the true value of things rather than their staged value.

All of this makes for excellent examples to add to my essay in progress on Ubiquitous Learning - a critique, where I'm trying to argue that the words ubiquity and learning have nothing inherently to do with technology, and are instead words of ethical dimension, so the phrase ubiquitous learning should become one more to do with an ethical approach or framework to learning, and not one suggesting a technological determination of it."
context  situated  situationist  leighblackall  comments  josephbeuys  newpublicthinkers  technology  art  situatedlearning  ubiquitouslearning  2837university  agitpropproject  agitprop  williamhanks  randallszott  colinward  learning  unschooling  deschooling  education  messiness  ethics  georgesiemens  curation  curating  curatorialteaching  connectivism  space  place  explodingschool  adamgreenfield  guydebord  enroute  street  urban  urbanism  cities  cityasclassroom  thecityishereforyoutouse  cv  lcproject  psychogeography  urbanscale  salrandolph  situatedart 
may 2011 by robertogreco
INTHECONVERSATION: Art Leisure Instead of Art Work: A Conversation with Randall Szott [Truly too much to quote, so random snips below. Go read the whole thing.]
"Sal Randolph talks w/ Randall Szott about collections, cooking, "art of living," & infra-institutional activity."

"undergrad art ed seemed overly concerned w/ 'how & what to make' sorts of questions…"

"in my possibly pathetic & overly romantic vision of considered life, I am quite hopeful about ability of (art & non-art) people to improve their own experience & others' in both grand & mundane ways"

"I would like to build along model of public library. Libraries meet an incredibly diverse set of needs & desires"

"art is a great conversation…tool for making meaning & enhancing experience, but it is highly specialized, & all too often, closed conversation of insiders"

"I am deeply committed to promoting "everyday" people who are finding ways to make lives more meaningful - devoted amateurs to a variety of intellectual pursuits, hobbyists, collectors, autodidacts, bloggers, karaoke singers, crafters, etc…advocate for a rich, inclusive understanding of human meaning-making."
2008  salrandolph  randallszott  leisure  art  living  collecting  food  cooking  life  slow  thinking  philosophy  unschooling  deschooling  credentials  artschool  education  learning  skepticism  everyday  vernacular  language  work  leisurearts  dilletante  generalists  cv  distraction  culture  marxism  anarchism  situationist  lcproject  tcsnmy  intellectualism  elitism  meaning  sensemaking  interdisciplinary  multidisciplinary  projectbasedlearning  projects  openstudio  crossdisciplinary  transdisciplinary  thewhy  why  audiencesofone  canon  amateurs  artleisure  darkmatter  pbl  artschools 
may 2011 by robertogreco
Sal Randolph
"…lives in NY & produces independent art projects involving internet-mediated gift economies, social architectures & 1-on-1 interactions…founder of Opsound, an open sound exchange of copyleft music (opsound.org). Other recent projects include The Free Biennial (freebiennial.org) & Free Manifesta (freemanifesta.org) which brought together several hundred artists in open shows of free art in public spaces of NY & Frankfurt am Main, as well as Free Words (freewords.org) in which 3000 copies of a free book have been infiltrated into bookstores & libraries worldwide by a network of volunteers…recent project Free Press created open access publishing house at Röda Sten Contemporary Art Space in Göteborg, Sweden…currently developing work in the areas of experiential & participatory art including a series of works where she gives away money…works w/ sound as situationalaudio & as member of band Weapons of Mass Destruction,…also part of the psychogeographical artist network, Glowlab."

[Also on Wikipedia: http://en.wikipedia.org/wiki/Sal_Randolph ]
art  culture  urban  activism  situationist  psychogeography  glowlab  salrandolph  nyc  diy  participatory  sound  copyleft  music  del.icio.us  ncm  participatoryart 
may 2011 by robertogreco
INTHECONVERSATION: Notes on Social Architectures as Art Forms by Sal Randolph
"To put it differently, sculpture and architecture can both be meaningful, but they typically mean in different ways. Nicholas Bourriaud, in his more recent book Postproduction offers, "why wouldn't the meaning of a work have as much to do with the use one makes of it as with the artists intentions for it." Or, Bourriaud again, quoting Tiravanija, quoting Wittgenstein: "Don't look for the meaning, look for the use.""
wittgenstein  architecture  urban  psychogeography  design  art  socialarchitectures  salrandolph  nicholasbourriaud  josephbeuys  johncage  dadaism  alankaprow  fluxus  gutai  situationist  performance  performanceart  rirkrittiravanija  johndewey  robertirwin  perception  consciousness  niklasluhmann  structure  urbanism  communication  audience  observation 
march 2011 by robertogreco

Copy this bookmark:





to read