Interview with Ven Voisey: Visceral vs Intellectual (original) (raw)

Sign up for access to the world's latest research

checkGet notified about relevant papers

checkSave papers to use in your research

checkJoin the discussion with peers

checkTrack your impact

Abstract

Ven Voisey is a multidisciplinary artist, working in sculpture, installation, painting, and sound. His practice, however an overarching interest in communication — the possibility or impossibility of translation — between each other and o across circumstance and species, and through time and technology. This interview and his work was featured on Positive-Magazine.com http://www.positive-magazine.com/ven-voisey-visceral-vs-intellectual-knowledge/

L'ECLISSE Redux: A urban sociology re-think contemporary Siena

Interview with Bureau for Open Culture (BOC), an itinerant curatorial initiative, about their project L'ECLISSE redux in Siena, Italy, produced by Nate Padavick, C Troyan and James Voorhies. This interview was published on Positive-Magazine.com http://www.positive-magazine.com/leclisse-redux-a-urban-sociology-to-re-think-contemporary-siena/

On the Uncanny in the Encounter between the Living and the Inanimate in Performed Immobility.pdf

Art and the Uncanny (organization by Gerry Kisil), 2017

In The Uncanny, Freud undertook to determine the sources of this feeling by referring to Jentsch’s work, the conclusions of which he contradicts. e feeling of the uncanny that arises from the short story The Sandman by Ho mann would not be due to the object, which one endows with a soul, but rather to the set of choices made by the author, which would explain why the same object can appear, or not, to be uncanny depending on the context. ough they are not as such a source of the uncanny, the representations that blur the distinction between the living and the inanimate appear to be a favoured vehicle to stimulate this feeling, as is borne out by several examples from literature and the visual arts. Horst Bredekamp describes these representations as “living images,” which he classi es into three groups. For this presentation, we will draw on the group of schematic images, and more speci cally the tableaux vivants that make it up. We will study a selection of performances carried out from the mid 1990s to today in which the performers’ immobility draws an operative force from the tableau vivant. The use that is made of inaction and movement will be examined in order to envision how the indetermination that is thereby created fosters a feeling of the uncanny. In his study on the movement of statues, Kenneth Gross for his part suggests that the encounter between human life and the world of objects serves to go beyond systems of opposites and to ensure a survival of life in death. Following Gross, we could thus put forward that the performances under study, in which individuals remain inactive, make up a way of embodying opposites and death by picturing, at least a partial, deliverance from it.

ReCovering Memphis: ReContexting Bodies

Number, 2017

Richard Lou has questioned the exaltation of the leaders of the Confederacy as a part of his art practice in 2009 with a performance called “ReCovering Memphis: Listening to Untold Stories” and in 2013 with a photography piece titled “ReCovering Memphis: Courageous Love.” Both took place at the Forrest monument in what is now known as Health Sciences Park. For the 2016 The Man Show piece, “ReCovering Memphis: ReContexting Bodies,” Lou personified iconic photographs of Confederate Commander-inChief Davis and General Forrest through dress, pose, and expression in a thirty-three minute digital video.

Loading...

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.