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Georgina Starr's exhibition and performance I,CAVE at mima (Middlesbrough Institute of Modern Art) opened 9 April 2015. The exhibition runs until 28 May 2015.
The 'I, Cave Ceremony' marked the opening of Georgina Starr's solo exhibition 'I,Cave' at mima on 9th April 2015.
The performance, which began as a procession through the mima gallery atrium, activated key elements of Starr's installation with performed poetry, sound and scripted action. The poems (written by Starr) were spoken, shouted and sung by the performers inside and around 'The Tunnel' (2015), a large sculpture which served as mouth piece, stage, entrance, exit and speaker chamber. The performers enacted specific choreographed movement relating to the sculptures, costumes, photographs and drawings in the exhibition. Starr conducted the action from behind a typewriter where the sounds and colours of the words being typed dictated the tempo of the ceremony. Two 12" vinyl records, Alberto Ginastera's 1967 opera 'Bomarzo'* and Starr's own record 'Mum Sings Hello'** played central roles in the performance alongside a cast of 5 female performers, 10 year old twin girls and a case of emerging Emperor Moths. Starr has described the piece as being partly inspired by a vision she had while visiting Bomarzo, the Parco dei Mostri (Park of Monsters), a 16th century sculpture park in Italy created by Pier Francesco Orsini. "I was bitten by a spider in Bomarzo and later had a lucid vision where I was guided by two children through a series of caves, holes, rooms, tunnels and orifices. The encounters I had there were so vivid that I recalled them as a true memory rather than a fiction or dream." Taking this vision as her point of departure Starr developed a transhistorical narrative which became both the cornerstone of the exhibition ('I,Cave', 4 panel text piece, 2015) and the libretto for the opening ceremony. The work occupies a space between sculpture, literature, history, theatre and possession ritual.
Cast and objects in order of appearance :
The Archaeologist : Nicola Singh
Chorus Mysticus : Sarah O'Brien, Heike Salzer, Faye Green, Rose Payne
The Spheres
Le Cerveau
The' Bomarzo' LP*
The Lleu Llaw
The Stenographer/Writer : Georgina Starr
The Tunnel
The Moth-Eaten Children : Ushi and Nanook Welch
The Lepidopterist's Case
The Emperor and Empress Moths
Portrait of 'R'
The Bubble Gum coins
The Great Mother : Voice of Christine Starr on 'Mum Sings Hello' (1993-2009)
The 'Mum Sings Hello' vinyl record
*Bomarzo LP : The Bomarzo Opera libretto is based on the novel (written by Manuel Mujica Lainez) about the Parco dei Mostri (The Monster Park) a sculpture garden in Italy created by Pier Francesco Orsini in 1500's. At the beginning of opera Orsini drinks a potion dispensed by his Astrologer which causes him to see his whole life in flashbacks. He eventually dies inside of 'The Mouth of the Monster' sculpture (Orcus).
** Mum Sings Hello (21 minutes, 1993-2009) is an audio work which began as a message left by Starr's mother on her telephone answer machine in 1993. Yearly the recording has been transferred from tape to tape over 16 years. The vinyl record holds the voice recording as it goes through the sonic ageing process.
To see the audio slideshow of the 'I,CAVE' Opening Ceremony : vimeo.com/126114374
Palais des congrès de Montréal, Art Souterrain, 2019
Volière est une grande cage d’oiseau d’acier qui est occupée par de faux spécimens d’oiseaux, ici des drones recouverts de plumes de papier et des oiseaux hybrides, entre l’animal et l’objet mécanique. Ces oiseaux-drones présentent un faux monde exotique, une transgression dans la théorie de l’évolution de Darwin et donc mettent en doute l’histoire des espèces animales et nos connaissances. La fausse représentation animale, ici présentée en cage, est aussi un outil d’observation et d’espionnage qui permet de nous renvoyer notre propre regard curieux, car le spectateur est observé ici par cet engin manipulé par on ne sait qui. Volière permet de nous questionner sur ces spécimens hybrides et le drone qui prend de plus en plus de place dans l’espace public, dans le ciel parmi les oiseaux et dans l’espace aérien, entre autres, des pays espionnés par nos gouvernements.
Commissaire : Art Souterrain
Stéphanie Morissette a participé à plusieurs programmes de résidences au Canada, en Allemagne, en Finlande et en Islande. Ses œuvres ont été présentées dans le cadre d’événements d’envergure tels que l’International Symposium of Electronic Arts (ISEA) à Hong Kong (2016), le Women Makes Waves Film and Video Festival à Taiwan (2011) ainsi que la 10e Biennale internationale d’art contemporain d’Istanbul (2007). Stéphanie Morissette est récipiendaire du Prix du CALQ – œuvre de l’année 2017 en Estrie. Elle vit et travaille à Sherbrooke.
''জগতের আদি বস্তু সমূহ মূলত গোলকসদৃশ এবং সদা গতিশীল ..''
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Community art project 'Hamra'
organize by Gidree Bawlee
23 to 30 jun at Balia, Thakurgong
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
My Offering
plaster, bread (donated by Breadworks)
2011
Artist Statement:
I have not escaped the memories of the victims’ hands asking food and help in the aftermath of the Nagis cyclone that hit Burma’s delta in 2008. When my wife and I were doing relief work with other friends, I saw the many hands of people who were hungry for food, for safety, for kindness and for others. We continue to see countless hands like these all over the world today.
There are countless hungry people who are running and hiding because of civil war and war aggressions, who lost their job because of crises, and who are trying to survive under a dictatorship. They raise their hands with hunger and questions that are important to solve to stay alive.
I am an artist who became a baker for our family’s survival. Whenever I am working with bread, I see the hungry hands of the victims we helped in Burma, and I continue to think of other hands that are rising with needs. It is a pleasure to put nourishment in the hands of hungry ones. When I bake, peace becomes an ingredient.
One night, I had a chance to rewatch an old James Bond movie. There was a scene about a weapon factory in the film. The faces of the workers in the weapons factory are like the faces of statues–I could not see any happiness or interest. When I thought of my fellow workers, I felt joy knowing I am able able to work with their smiling faces in the bakery.
I believe that everybody, especially those who have known hunger, will be happy to view this expanse of bread. I mentally combined the hungry hands that I cannot forget and the bread that I have enjoyed baking over the years to make this artwork because I want to bring a little bit of happiness to people. Imagine bombs instead of bread in these hands. Would you still find joy in them?
Bio: Than Htay Maung was born in 1958 in Pathien, Burma. He lives in Pittsburgh with his wife Khet Mhar, an exiled writer who received political asylum in the U.S. His installation work, created out of found materials, is politically charged commentary on news and its veracity and dissemination to the public. Whether making an installation about satellite news distribution in Burma or sending SOS bottles filled with commentary down the Irrawaddy River, Than Htay Maung’s work always asks the viewer to question what he or she believes to be the truth. He has previously exhibited in a Gestures exhibition at the Mattress Factory and in New York.
Morakot "Emerald" (2007)
อภิชาติพงศ์ วีระเศรษฐกุล (Apichatpong Weerasethakul)
Single channel video installation (11 minutes)
Apichatpong Weerasethakul (Thai: อภิชาติพงศ์ วีระเศรษฐกุล), born July 16, 1970 in Bangkok, Thailand) is a Thai independent film director, screenwriter, and film producer. His feature films include Tropical Malady, which won a jury prize at the 2004 Cannes Film Festival, Blissfully Yours, which won the top prize in the Un Certain Regard program at the 2003 Cannes Film Festival, and Syndromes and a Century, which premiered at the 63rd Venice Film Festival and was the first Thai film to be entered in competition there.
Working outside the strict confines of the Thai film studio system, Apichatpong Weerasethakul has directed several features and dozens of short films. Themes reflected in his films (frequently discussed in interviews) include dreams, nature, sexuality (including his own homosexuality), and Western perceptions of Thailand and Asia, and his films display a preference for unconventional narrative structures (like placing titles/credits at the middle of a film) and for working with non-actors. Cinephiles affectionately refer to him as "Joe" (a nickname that he, like many with similarly long Thai names, has adopted out of convenience).
Apichatpong Weerasethakul chose to show the Single Channel Film/Installation piece Morakot (Emerald, 2007), in response to the theme of Wonder in the Biennale. The ‘Emerald’ is a disused hotel in Bangkok, which opened its doors in the 1980s when Thailand was going through social change and an accelerated economy. Things changed with the Asian economic crisis in the late 1990s. As he was researching rooms for another shoot, the experience of being in the now empty spaces, with motes lingering in the air made an impact, perhaps like a star first bursting into life then later slowly disappearing. He returned to the hotel a year later, re-engaging with this experience together with his actors as they recounted their own memories and dreams to make Morakot.
More information on universes-in-universe.org/eng/magazine/articles/2008/apic...
NYC artist Christina Watka installs site-specific work for Felicity House in NYC.
Image Source: Uprise Art
Montréal, intersection de l’avenue des Pins Ouest et de la rue McTavish
The Celestial Tree représente un arbre céleste conçu à partir des matériaux d'un panneau de signalisation urbaine. The Celestial Tree agit effectivement comme un phare menant au sommet de la montagne. L'œuvre est tirée de l'un des plus récents films numériques - ou machinima - de l'artiste, She Falls for Ages, une science-fiction féministe transposant le mythe fondateur des Haudenosaunee, ou Iroquois, dans un monde postracial et postcapitaliste. L'œuvre questionne ainsi notre rapport à l'avenir, elle nous invite à renouer avec nos semblables, avec l'histoire de notre ville et avec notre désir de la voir évoluer nous incitant à imaginer un monde meilleur. Une œuvre qui nous pousse à rêver en grand.
Arnold Dreyblatt’s musical and artistic practice ranges from large multi-day performances to permanent installations, digital projections, dynamic textual objects and multi-layered lenticular text panels. His visual artworks are complex textual and spatial visualizations about memory, reflecting upon such themes as recollection and the archive. Arnold Dreyblatt was a Visiting Scholar at MIT and taught a course entitled “The Harmonic Archive: Music, Sound and Installation Art as Artistic Research.”
A member of the second generation of New York minimal composers, Dreyblatt continues to develop his work in composition and music performance, having invented a new set of original instruments, performance techniques and a system of tuning. He has formed and led numerous ensembles under the title “The Orchestra of Excited Strings” for over thirty years.
Arnold Dreyblatt studied music with Pauline Oliveros, La Monte Young and Alvin Lucier. He has been based in Berlin, Germany since 1984. In 2007, Dreyblatt was elected to lifetime membership in the visual arts section at the German Academy of Art (Akademie der Künste, Berlin). He is currently Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany.
Presented by the MIT Center for Art, Science & Technology (CAST).
Learn more at artsm.it/1DPfNbc
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Beezy Bailey's "As it is in Heaven" at Circa on Jellicoe - The feature of the African Unicorns that's been senselessly slaughtered for their horns. - "Yes son, they once walked the great African Plains before man wiped them out.....
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
This shot was taken at around 6pm.
These two pieces of installation art are sort of landmark for the newly built promenade in Kwun Tong. However, it seems to be copycat of another work located on a Barcelona beach, created by an installation artist, Rebecca Horn.
www.designerhk.com/forum/post/1938
www.ethanham.com/blog/labels/semiotics.html
What do you think?
Art Outside
Friday - Sunday, October 22-24
at Apache Pass
Full access to the Art Outside festival Included in the MGFest Austin All Arts Access Badge, or you can buy tickets for Art Outside only.
Art Outside is a 3-Day camping festival at the beautiful Apache Pass festival grounds near Rockdale, Texas. The site features hundreds of acres of grassy camping areas and lush pecan trees scattered throughout.
Featuring Over 300 Artists including: Random Rab, Gift Culture, Artificial Life Preserver, Psymbolic--visuals, Win Win Creative, VJ Mason Dixon, Michael Christian, Art of Such-N-Such, Life-Size Mousetrap, Ricochet, Elemental Uprising, 999 Eyes Freakshow, Agent Red, Blockhead, God-des and She, Spoonfed Tribe, Community Art Makers, The Art Department, George Krause, Minor Mishap, Gyronauts, T-Bird and the Breaks, Heyoka, Brownout!, Govinda, Anahata Sound, plus many more!
MGFest's Art Outside Screening includes: Max Hattler, N.A.S.A., Eric Gunther for OK Go, Roger Ruzanka & The Flashbulb, Jon Satrom, Alan Sondheim, and more.
solo-exhibition by Andreas Templin, Fukase Memorial Visual Art Preservation Plan Tokyo, curated by Masu Hiroshi Masuyama. Virtual catalogue: issuu.com/andreastemplin/docs/as-if-to-nothing-charles-da...
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
By Sarah Peebles. With pyrography by Mary-Anne Alberger; cabinetry by John Kuisma; electronics by Rob Cruickshank.
This Audio Bee Cabinet is an amplified bee 'hotel' or 'condo'. It was commissioned by Toronto's Access Alliance Multicultural Health and Community Services for their green roof on Danforth Ave at Victoria Park, 2013. See the album Audio Bee Booths & Cabinets for details of who's been nesting here in 2017: www.flickr.com/photos/resonatingbodies/36501005740/in/alb...