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The Projector Collective @ Versus Gallery, East Essex street, Dublin during the DEAF festival, 23rd-26th October 2008.
www.barnesfoundation.org/exhibitions/shonibare/
Exhibit at the Barnes Foundation in Philadelphia runs to April 21
Exposition “L'autre côté du miroir, le monde de Charles Matton“ à l'Espace culturel Chapelle Sainte-Anne
#laBaule #laBauleLesPins #ArtContemporain #LesBoîtes #contemporaryart #exhibition #installationart #artinstallation #art #laBauleEscoublac #CharlesMatton
I've been making this web installation for a semi-secret event involving lots of friends. It was partially inspired by pictures I saw of an amazing packing tape installation in Berlin by a design collective called Numen, and by the work of a Japanese artist named Chiharu Shiota, but also it's been a chance for me to try out a new medium and play with a warehouse space that is absolutely huge.
Trying out the collaborative textile piece I am working on with Louise Bird - to be shown on 7 September at Culture Colony Launch in Aberystwyth Arts Centre.
Installation view: Bode Museum Berlin. 1992
Transformable Paintings. Compact Paintings. 1991.
Collection MNAM Centre Pompidou Paris
Oil on canvas, dimensions variable from 190 x 150 cm to 160 x 125 cm.
Seven paintings based at works of Western-European artists including Titian, Diego Velazquez, Giorgione, Murillo, Tintoretto, Eugène Delacroix, were exhibited as objects in several different ways.
Exhibition: Dialog im Bodemuseum .Curated by Klaus Biesenbach. Artists: Isa Genzken, Klaus vom Bruch, Svetlana Kopystiansky, Igor Kopystiansky, Strawalde (Staatliche Museen Preussischer Kulturbesitz, Bodemuseum Berlin, 1992. (Catalog)
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
Who says you can't wear your childhood toys? Remember those toy venders hawking their wares at the entrance to your elementary school? Marbles, plastic combs, stickers, model airplanes and the likes don a suit, here modelled by the creator.
I've been making this web installation for a semi-secret event involving lots of friends. It was partially inspired by pictures I saw of an amazing packing tape installation in Berlin by a design collective called Numen, and by the work of a Japanese artist named Chiharu Shiota, but also it's been a chance for me to try out a new medium and play with a warehouse space that is absolutely huge.
The Projector Collective @ Versus Gallery, East Essex street, Dublin during the DEAF festival, 23rd-26th October 2008.
Part of the Water Republic show at EMG guangzhou 水共和展的一部份
Dried earth and plants at one end, crushed plastic bottles with image of a nude, silenced, tied up within that glows in a blue light at the other.
An installation made as part of my current FIAD project.
At the end of a dimly lit corridor, a door-sized aperture of light appears inside a small room, as if cast in from the outside. Centred in the light is an anonymous silhouette, sometimes facing the viewer, other times standing calmly in profile.
Materials: Ink on acetate, overhead projector.
"Undercurrent" exhibit at Loren Naji Gallery Ohio City, Cleveland Ohio 2014. Featuring works from Ron Copeland, Bob Peck and Steve Ehret.
Georgina Starr's exhibition I,CAVE at mima, 9 April - 28 May 2015
Photograph: © Colin Davison
To see the audio slideshow of the 'I,CAVE' Opening Ceremony : vimeo.com/126114374
I've been making this web installation for a semi-secret event involving lots of friends. It was partially inspired by pictures I saw of an amazing packing tape installation in Berlin by a design collective called Numen, and by the work of a Japanese artist named Chiharu Shiota, but also it's been a chance for me to try out a new medium and play with a warehouse space that is absolutely huge.
Konica Auto-S2, Fujifilm color with flash. West Gallery, Central Michigan University's Spring 2008 Festival of Installation Art.
The Projector Collective @ Versus Gallery, East Essex street, Dublin during the DEAF festival, 23rd-26th October 2008.
The Projector Collective @ Versus Gallery, East Essex street, Dublin during the DEAF festival, 23rd-26th October 2008.
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
A detail of Jane Alexander's commissioned installation, Security - at the Joburg Art Fair 2009, Sandton Convention Centre, Johannesburg, South Africa.
Part of the Water Republic show at EMG guangzhou 水共和展的一部份
Dried earth and plants at one end, crushed plastic bottles with image of a nude, silenced, tied up within that glows in a blue light at the other.
Produced in 1990 in New York.
Exhibited: "Igor and Svetlana Kopystiansky" Kunsthalle Düsseldorf, 1994
1992 "Anni Novanta," (cur. Renato Barilli). Galleria Comunale d'Arte Moderna, Bologna; Musei Comunali, Rimini; Ex colonia "Le Navi," Catolica, Italy (cat.)
Installation art @ the Joinery Gallery, Stoneybatter. Dublin during the DEAF festival,
23rd-26th October 2008.