Interview with Ven Voisey: Visceral vs Intellectual (original) (raw)
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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.
Role of the Body in Creative Processes & Practices
The central premise of the embodied approach to creativity is that bodily and emotional experiences determine our capacity for reason, our physical interactions with our environment conditioning the way we perceive and understand our environment2 .Yet embodiment is something that is rarely talked about in higher education teaching and learning practice, perhaps it is just taken for granted. In this issue of Creative Academic Magazine we will explore the idea of embodiment through a range of perspectives paying particular attention to the relationships between embodiment and the way our creativity emerges in and through our perceptions, interpretations, actions and interactions with our environment and the people in it, and the tools and other artefacts we use and create. The idea of embodiment extends our understanding of learning ecologies within which creativity can flourish and therefore connects to our exploration of how teachers pedagogies might lead to ecologies for students' learning within which creativity can flourish. For other magazines exploring creativity visit http://www.creativeacademic.uk/magazine.html
This Ph.D. by Published Work examines five projects that took place over ten years, between 2007 and 2016, that were curated as part of the artistic programme of Arts Catalyst, an independent interdisciplinary arts commissioning organisation of which the author is the founding director. This programme of work sought to understand what form of curatorial model and interpretative framework could generate new artworks and co-produce interdisciplinary knowledge across areas of specialist research and geopolitical urgency. The projects take the form of exhibitions, texts and edited books, which are presented as the portfolio of work. The selected projects are: Malamp UK, Brandon Ballengée (2007-2010); Arctic Perspective Initiative (2009-2011); ITACCUS – IAF Technical Activities Committee on the Cultural Utilisation of Space – and associated activities (2007-2014); Holoturian, Ariel Guzik (2013-2015); and Wrecked on the Intertidal Zone, YoHa, Critical Art Ensemble, et al. (2013-2016). Through analysis of and reflection on the projects, this commentary proposes a curatorial model of interdisciplinary co-inquiry, which can foster an ecology of practices, enabling curators, artists, scientists, specialist experts and people with situated expertise to coproduce knowledge around matters of concern, particularly relating to human-environment interaction and common and extraterritorial spaces. It examines the roles of the curator in this model and how these might differ from those commonly understood as established curatorial practice. The commentary further presents an interpretative and tactical framework of the planetary commons for curating art-led projects in the realm of ecopolitical concerns, that can engage audiences and publics with the art and ideas emerging from this co-inquiry approach. The combination of curatorial model and interpretative and tactical framework contribute to discourses on both inter/trans-disciplinarity and the role of art in relation to the politics of ecology. The Ph.D. contributes to the field on several levels. Within curatorial studies, the interdisciplinary co-inquiry model reconfigures curatorial practice as a collective, inquiry-driven, knowledge-producing practice, and provides a useful methodology for inter-/trans-disciplinary artistic practice in relation to the politics of ecology, while the framework of the planetary commons proposes direction and allows for investment in reciprocity through commoning practices. Beyond contemporary art, a curatorial co-inquiry model deepens and alters existing approaches for listening to, valuing, and synthesising different types of knowledge and expertise around current environmental and related social concerns. While the commentary argues for the planetary commons framework within the contemporary art space, there are wider implications for it as a complement and alternative to the dominant interpretative framework of the Anthropocene.
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.