As a 1900s printed Wikipedia, this book contains lots of historical examples relating to my primordial interest in vulnerability.
This writing introduces Kapashera where around 250,000 labour migrant were accommodated in an area of less than 1 km² and they life was narrated as “in the morning, the beds are rolled up, transforming the room into a living space, at dinnertime the party setup next to the window tased over the space, and at nighttime the beds are rolled out again…… Pause, play and repeat, 12 hours a day, six days a week.” which is paralleled to my lifestyle in Futuro Commune (more details in the next session). The slaveship graph The Brookes above indicates how limited spatial fuidity decontextualizes connectivity.
I have livied inside the Futuro house with Amy, Celine and Isobel for 4 days, 6 hours and 45 minutes (the same period of time it took the Apollo 11 space mission to reach the moon), I am very used to “in the morning we rolled our sleeping bag or yoga mat, making our sleeping space be able again to accommodate four art students doing spacial works, and in the evening everything were stretched back. Pause, play and repeat.” On the contrary to last session, collectivity was cultivated quite successfully in this enforced spatial fluidity. I am just wondering - this dreamy and immediate mode of forming a collective will be still realistic without the institutional support and public exposure?
Regulated Slave Trade & Recreation*
Another example and restoration of the slave ship. It will be interesting to consider how to apply enforced collectivity to spatially deliver the final collective in the show.
The Dispersed Home*
Whereas today the practice of eating is characterised by individualisation, there is still a growing desire for gathering and connecting. This discussion of “table community” inspired me of the potential development of round-table community for the collective in the merging of work and life and in the wake of the transition between (if experienced positively) flexibility and (if experienced negatively) overload of new boundaries.
A Book Cover*
Some words on the back cover to support my snow-radio initiative.
Real-Time Realist #2*
This is a serial publication by J-LTF PRESS. In this issue invited artists are distilling emotions like Ecstasy, Joy, Serenity, and Love, The Yellow Wheel through this printed matter. Singularies are very well curated here. Above are my favorite pages from issue #2. How to distill each singularity through context?
“The term ‘New Institutionalism’ describes a series of curational, art educational as well as administrative practices that from the mid 1990’s to the early 2000’s endeavored to reorganize the structures of mostly medium-sized, publicly funded contemporary art institutions, and to define alternative forms of institutional activity.” Said Kolb & Flückiger. Will the “new institution” occupy the place of independent critical collectives? How art education and art collective come across each other? Will it really “usurp the cultural, social and political space produced by the people (e.g. alternative art projects)” and “show itself as auto-critical and anti-institutional”?
School of Missing Studies*
The School of Missing Studies︎ started in 2003 as an initiative of artists who recognized “the missing” as a matter of urgency and became a one-time master program under the roof of Sandberg Instituut. “Investigating what culture(s) laid the foundations for the loss we are experiencing from modernization and how this loss can talk back to us as a potential site of learning, the School of Missing Studies is calling for a space to turn existing knowledge against itself to affect our capacity to see things otherwise, to trust that seeing, and to set one’s own pedagogical terms.” It also transforms its hyperlinks into an open resources archive. If you are interested you can go there by clicking the small arrow above. The 1st video Turning A Blind Eye I shared here is a programme of public workshops, events, lectures and walks during the 31st Biennale of Sao Paulo (2014) that explores different notions of the 'unseen' (the non-visible and the non-existent), and the ways in which we look at things or choose what we look at. Departing from recent events in Brazil and worldwide, the program seeks to investigate the idea of 'publicness' and the tensions that arise from increasing exploitation of urban and natural space. This link︎ is the result of this research called Ten Video-Essays .
Instead of being dependant on spatial constructions, Metahaven go snowing virtually. As the research-focused dutch design studio, it has started constructing either interdisciplinary or recursive superstructures as a seemingly digital collective. By saying seemingly, it is not simply defined as a design collective but it expanded to include any number of collaborators and locate them altogether on the spectrum of graphic design with pedagogy, theory journalism, art or any other number of ideological art. Their knowingly utilisation of digital metabolism in institutional affiliations and collaborative work-in-progress may be debated by anyone (I am one of them) with a passing interest in collective design production in real-life, their current state of digital distribution still leaves much to be desired such as their up-to-date project sprawl.space︎ which made film production less cinema-oriented in terms of its online interface supplying forever unfinished succession of impressions and documentary collage.
PUB︎ is a trans-departmental initiative run by students of Sandberg Instituut which presents an active scenario where a publishing service at art institution functions as a hub and platform to accelerate interdisciplinary collaborations among students, alumni and third parties. I used to be pass by their live event once at Sandberg Open Day 2019 when they were doing PUBcast which is a live podcast. Student were sitting around a huge table with lots of wires, mics, DJ plates and papers on the top. Drawings were put on the board aside for audience to visually join their live conversation. I’m wondering, how, through an presentation on symbiotic processes in both real and virtual can we narrate an active collective practice such as PUB?
UPPERCASE MODELS, LOWERCASE COUNTER-MODELS*
This is an editorial by Jacob lindgren from the book Extra-Curriculum which has points like Gustave Affeulpin’s fictional beaubourg* No-personnel* Self-built chairs* Give up comfort as culture (motor=culture)* Alternative catalyst* Anti-network network* which reflect some social aspects regarding to surviving as a community.
Poems for Earthlings*
This is a take-away printed matter from the exhibition Poems for Earthlings︎ which is an immersive installation by artist Adrián Villar Rojasat at Oude Kerk in Amsterdam. I really like how it introduces the project team on the back cover (scroll and you will see the scan) which reminds me of lots of other credit page of films, web, exhibition brochures and etc. that the list itself can be a poetic collective lottery to scratch as well.
Pessoa for me is not only a prolific writer but also a self-initiative collective of approximately 75 people. He called these 75 people heteronyms as these imaginary figures created by him sometimes held unpopular or extreme views to help capture individual intellectual life. They argue with each other’s perspective on magazines. His interest in occultism and mediumship “exerted a strong influence in [his] writings, who felt ‘sometimes suddenly being owned by something else’ or having a ‘very curious sensation’ in the right arm, which was ‘lifted into the air’ without his will. I am very obsessed with his multi-persona collective of 75 heteronyms.
The Artist Placement Group (APG) was conceived by Barbara Steveni in London in 1965, and established in 1966 as an artist-run organisation seeking placements for artists within industry and public institutions, in which artists would develop ideas, research and projects in-situ. Soon joined by other artists – including Anna Ridley, Barry Flanagan, David Hall and Jeffrey Shaw – APG appeared part-consultancy firm, part-think-tank, part-artist collective (they operated under this title until 1989). The APG intended to no longer confine artistic practices to the studio, but to extend the reach of the artist to commercial, industrial and government contexts. Context is Half the Work︎.
Female Author nom de plumes*
“The parasitic relation is intersubjective. It is the atomic form of our relations. Parasitism pertains only to invertebrates, coming to an end with mollusks, insects, and arthropods. There are parasitic mammals.. Not the rat, not the hyena, not even the administrator......The basic vocabulary of this science comes from such ancient and common customs and habits that the earliest monuments of our culture at least in part: hospitality, conviviality, table manners, hostelry, general relations with strangers.” What if intimacy unmasks parasitism while vulnerability becomes narcissism?
These are screenshots from the Japanese animated tv series Cowboy Bepop︎ directed by Shinichirō Watanabe. The series for me is an aesthetic multi-film collective because it makes specific references to or pastiches films including the works of John Woo and Bruce Lee, Midnight Run, 2001: A Space Odyssey, and Alien. The series also includes extensive references and elements from science fiction, bearing strong similarities to the cyberpunk fiction of William Gibson. Each episode encodes one specific song as well. Its way of creating juxtaposition is insane.
AOS by arebyte Gallery*
As a place to exhibit digital art and emerging media, arebyte has been active in London since 2013. AOS︎, which means arebyte on screen, is some sort of an online channel where showcases artists but also curators, open to the public 24/7.
The Living Room*
Personally, I think The Living Room︎ is a great project which has been dedicating fluidity of art collective. It is a nomadic project working across the boundaries between display and site. It places artists into direct contact with the ‘living’ world in order to augment their poignancy and understanding, “promoting the relevance of the arts in wider contexts and reaching new audiences in its ever new location.”
In the underbelly of beaubourg — differentiated from Beaubourg (Centre Georges Pompidou) in text by the lowercase ‘b’, Gustave Affeulpin founded a truly inclusive venture open to bankers, bikers, addicts, student, parents, potters, activity, criminals, everyone. With no such thing as membership, private property and hierarchies of leadership are abolished. Every conventional bourgeois like sleeping, eating, hygiene, dressing, keeping track of time, needing personal a name are overturn. Unknown people begin working together on their personal needs; they share their part-time shifts outside or refuse their daily jobs altogether in the so-called utopia. This open field for symbiotic lives is very successful in the way of getting rid of framed past. What if this collective is formed in the way that how beaubourg straight away gives up culture as comfort? Will the snow be also ready to reconsider every aspect of conventional culture progressively? Ready to reflect on things as ordinary as one piece of furniture?
John Lurie isn’t fooling anybody with his invention of Marvin Pontiac. In 1999, cult favorite actor musician/prankster polymath John Lurie invented a personality: Marvin Pontiac with letting slip an album, The Legendary Marvin Pontiac: Greatest Hits, on his Strange and Beautiful Music label. Pontiac became the musically gifted son of a man from West Africa and a Jewish woman from New Rochelle, New York. Pontiac’s biography, as Lurie imagined it, was a wry and purposeful sendup of the ways in which critics canonize and worship the disenfranchised and the bedevilled. In Lurie’s mythologizing, Pontiac, who was born in Mali in 1932, was abandoned by his father and his mother was institutionalized. Who should be born to be mythologized by myself?
very first drawings*
I became obsessed to diagrams in the beginning so I noted/drew down some diagrams relating to ‘system’ ‘intimacy’ ‘vulnerability’ I saw on Whole Earth Catalogue︎.
very first notes*
This is a primary research catalogue. I was trying to find a reflective topic. I ended up grabbing “intimacy & vulnerabilty” “individual & collective”.
another duo experience*
A very short duo experimentation in collaboration with Ning Yan to make a beer can design which ends up in visiting NL together for further research about portable space in absurdity. From above you will see my 3-page process notes + few final presentation slides. Maybe it is not professional enough in terms of client-based design thinking, but hopefully sunny beach at CSM has been delivered to a state of becoming. In the final presentation I realized that collaborative moment can be very performance-friendly.
initial concept chain*
Following the hint “performance-friendly” from above, these not-that-legible handwriting gave birth to my initial prototype which is to form a real collective and give it a live radio debut on stage in the degree show. More details can be found through the chain noted above.
I re-narrated some projects my friend saw at Art Rotterdam 2020︎ for the on-stage radio debut of the collective. (1)“Endless” is where a collective of dancers in default pose will be activated to other poses by a touch to their app screen on the stage side; (2)The bar is a customized drinking space. Both is hinting at the sort of unframed innocence of communication to deliver the final format.
This book documents Dieuwertje’s research of more than 60 independent art spaces and initiatives in Europe which offers a wide range of collective examples and how they survive in these turbulent times.
collective in art pedagory*
As a collective entity which cannot be neglected, art pedagogy occupies many collective possibilities and critique in both real and virtual. Here I was trying to dig into the culture of collective winning when recalling my previous design duo experiences with Julia Luckmann at CSM.
On the left side column I have documented examples of Futuro Commune, APG, Kapashera Metabolism where enforced collective is applied in either spatial or behavioral way. After leaving my used-to collaboritive space (see picture above) and experiencing enforced collectivity (lock-down) again in this spring, I decided to apply APG’s statement “Context is half the work” to the final outcome. I was supposed to form a real collective and give it a live debut but no worries for now I decide to push the plan and spend more time building this context. Every collective prototype will be tested from my side only for now.
The folder image is a still from one of my project research presentation clip that I made a screen recording going through all the related files with voices overlapping for explaination. I feel net art such as this site-specific could be also as basic as that.
this URL context!*
This video is Her Majesty, URL - Olia Lialina︎ Online Lecture at arebyte Gallery. Olia Lialina is a 90’s net art pioneer who brings me “new media art and theory” perspectives when I was still deciding if my graduation project research should be archived in URLs. Creating links between the physical body and the virtual space also reflects APG’s manifesto “Context is half the work”. While algorithms are automated, URLs still generously adopted most unfamiliar narrative methodologies.
This is the parasite cascade, which collapses when PI = P4. To explain, “In the beginning is production: the oil crusher, the butter churn, the smokehouse, the cheesemaker's hut. Yet I would still like to know what produce means. Those who call production reproduction make the job easy. Our world is full of copiers and repeaters, all highly rewarded with money and glory. It is better to interpret than to compose; it is better to have an opinion on a decision that has already been made than to make one's own. The modern illness is the engulfing of the new in the duplicata, the engulfing of intelligence in the pleasure [jouissance] of the homogeneous. Real production is undoubtedly rare, for it attracts parasites that immediately make it something common and banal. Real production is unexpected and improbable; it overflows with information and is always immediately parasited.” said by Michel Serres.
As any on-stage collective is not going real with a live radio debut, the new destination is hardly tracked. I have looked back my previous works and tracked myself as a schizophrenic figure in the field of format, technique, perspective to approach design. Is it possible to have one-person snow which will not melt but keep accumulating? Following the highlighted sentence above from The Parasite, how to copy and repeat myself? How do one become multi? Does it mean being more schizophrenic than before? Multi-persona collective becomes the final destination for this at-home practice.
To continue this at-home collective practice and start the nomadic living-room exhibition concept Meta, I invited myself as the first artist to join this collective event that I made a 24-piece drawing series with a caption saying “it borrows its cartographic structure from the book Alchemy & Mysticism by Alexander Roob, using its alchemic thinking to generate human figure line-measurements for modern dwelling. We are always occupying ourselves with the worth of objects in our physical world while apparently ‘it is difficult to discern which properties each thing possesses in reality’ (Democritus, 8th century B. C. ). In this Meta practice, Scene is trying to transform her perspective into measuring and possessing through these fluctuating white lines. Meta will be not only her drawing series but also a continuing nomadic experiment curated by more invited creatives.” Who will be the next?
share the ticket*
To establish a more intended collective future career, I printed out my critical report (thesis) and crushed it into these snowflakes. Quite happy to find the punch machine and test this “crush the thesis, share the ticket” prototype. Really wanna have some events happening soon and say hi to people coming with this ticket.