Following the dialogues, our artists & filmmakers were invited to discuss ideas for new work. The posts relating to these ideas are collected below. The artists & filmmakers submitted their ideas by 1 April 2010, from which ten proposals were selected for further research & development. You can follow the further development of the selected proposals here.
To be possible for us to understand the nature of your production, including production value, we need answers to following questions:
How many members of cast will you work with?
How big is the production crew (cinematographer, sound recordist, assistants…)?
What equipment will be needed?
How long will it take to cast the film?
How long will it take to shoot the film and where?
How many hours of footage do you anticipate?
Who will post-produce the film and where (editor, sound design)?
How long do you anticipate it will take to edit the film?
The photographs views is virtually not different from the video. But the video have much flexibility in points of view.
The photographic aspect of the project is rather independent from the video although they are meant to address the same theme (Pride).
My intention is to make Pride available in both video and photographic format especially that the production will be done with a DSLR Camera inbuilt with an HD video capture.
I am intending to have about 4 segments for each scene to be captured at the barber shops/ salons.
i. An establishment shot of the barbers shop/ salon with the barber in it
ii. Close-shot of barber cutting the clients hair
iii. Close-shot of client in portrait format before the haircut. This will be done in context with the space the hair being cut.
iv. Close-shot of client in portrait format before the haircut. This will be done in context with the space the hair being cut.
I must say all this idea are tentative. For my projects I like my approach to be influenced largely but the prevailing environment I am with the core of the subject in focus.
Thanks for your comments and I welcome more.
For this project I’m planning to make 100 absolutely transparent luggage bags (image attached). The shape of the bag would be simulating a standard sports bag, popular in Dagesan. Everything inside of it will be seen. Then I will advertise in the local newspaper “From hands to hands” that I will exchange new transparent sports bags for old bags/suitcases and will document the exchange.
I will exhibit the documentation of exchange, advert in the newspaper, transparent bags, if there will be any left and audio documentations of the conversations I had with people who wished to change.
I have been interested in works that were done via adverts in the newspapers, for example the work of Nina Khachadouryan and Julia Meltzer in 1996, where they have advertised a non-existing studio to let, that was exactly the size of standard prison cell. Or Nancy Burson, who put an ad in Village Voice in 2002, where she was looking for people (of any nationality) who thought they looked like Jesus, she photographed everyone and exhibited selected portraits.
What am I doing? A transparent bag as it is, is a self-explanatory comment on the situation we are in. I’m also interested in exchange of something regarded more valuable for something of less value. But the main goal of the project is conversation and penetration of another social sphere. Who are those people reading exchange ads in the newspapers? What do they remember? How do they live? What is art for them? My conversation during the exchange is part of the work. Conversation about their everyday and historical experiences (I envision that its mostly old people read this particular newspaper). Their interpretations of my actions and results.
This is a project that grew out of furball. It is an Intervention with anthropological research of the subculture, that is beening formed at the moment. There is a new highway being built from Makhachkala to the airport. Every Saturday from midnight till 3 am an unauthorised highway racing contest happens. Crowds of man in black gather to watch, socialise and be part of the small newly forming subculture. I hope to make a video about this dynamic. I will not only be an observer. I will participate and document a carefully choreographed intervention with help of video camera. I intend to produce a full fur cover for one particular car and film its arrival and participation in this contest. Me and my friend(who often works as cinematographer with me) will also film the reaction of men who regularly come to these gatherings to hang out. The fur cover will be made out of old monster-like Soviet fur coats that I will collect. As I said this idea grew out of my FurBall proposal on IAA website. I kept thinking about it and there was nothing in it, apart from visuals and a rather simple idea of going back to nature, references to minimalism and the beauty of the landscape, it seemed too dry, too formal, too arty I would say. This idea on the contrary has a strong sense of exploring new social formation and critique. The end product would be an edited video of this performative action. I’m thinking of shooting another video with this fur car. I will either mix the two footages or display two videos in the same room in close proximity. The second video would be like a mock advert of luxury cars. Driving in this FurCar through mountains and fields with flowers, possibly chasing after another Russian minivan car called gazelle, FurCar like an animal chasing a deer.
In regards to emotions behind this project I can say a few things. I have always been very interested in observing various social dynamics. I want to intervene, have a dialogue, have a say, make a comment on zillions of car adverts that present automobiles as key to freedom, masculinity, phallic power, autobeasts that go wild, free when on the road, or when there is no road at all. I want to comment on the fact that Russia is overflowing with oversized cars, that would usually be used by farmers elsewhere. I want to comment on how disposable fur can be, and how unethical an artist can be, I want to get a response from real Dagestan man to what would be going on when we will arrive to participate in this street racing contest… I want to use humour as a tool to connect…and critique. Its not only the critique of consumption, comment on exclusive masculine Dagestan space, half-bestiality of fur(1), RnB culture if you wish, but I see it as a gateway to communication with the environment, new social group. It is impossible to predict a response I will get from the people at the event or driving through a city of Makhachkala. It is like tapping on new ground, somewhat similar to my video work A Space of Celebration, where two anthropomorphic brides explore new eclectic architecture of popular Dagestan wedding halls.
(1) “It is necessary to note that turning fur coats inside out is a characteristic ritual in a great many ethnic rites that marks representatives of the other world (evil spirits in a number of cases) who often look half-bestial according to popular beliefs.” (“To be presented with a fur coat off the tsar’s back” by Patimat Gamzatova)
Drawings and thoughts from a proposed series of performances about eating flowers and throwing up.
Somewhere between compelling desire and complete disgust, eating flowers is on the one hand a simple act that nevertheless describes more complicated ideas around desire, around our capacity to experience attractive and repulsive impulses simultaneously, mentally and physically. At once nauseating and fascinating, these performances (mis)use flowers in this way to display the self fulfilling failure and infinite beauty of the everyday.
Short prose about the idea for the performance, in Serbian.
Pojela sam svu svoju snagu i gladna sam skroz. Smisljam neki novi rad vezan za cvece, odnosno jesti sveze cvece (ali ono sa apetitom) i povracati istovremeno od silnog preteravanja, mozda kao Rimljani nekada. Kao zeleti nesto gledati gladnim ocima, nesto jako lepo i onda shvatiti da si ipak gladan u stvari i da zadnje sto si potrosijo na lepotu je prazno i razocarajuce. Kao sto sam kao mala jela zemlju i cvece svakako jer je bilo gorko i to mi je trebalo, jer sam ponekad mastala pobeci i ziveti u sumi kao divlje dete sa zivotinjama i najozbiljnije razmisljala da li prezivela od maslackovog mleka, ljubicica, detelina, trave i tako sam i zemlju jela. Kao sto karanfili su najgore cvece za jesti, odvratni su i odmah ti se povraca od njih, i nos ti curi i suze liju, od muke. Kao sto sam probala i to nekoliko puta da se uverim da nije lepo, jer sam radoznala, i nije lepo nikako. Kao sto sam ponovo bila tuzna i ‘Besame Mucho’ sam slusala sasvim preglasno i sve ponovo, jedna po jedna glavica karanfila je stradala pod mojim zubima a pesma se bezkrajno ponavljala. Kao sto svaki cvet zahteva se jesti na poseban nacin; Lale se mogu gutati cele, Ruze se moraju pazljivo brstati, Narcis treba u malim kolicinama jesti, Ljiljan se moze lizati, karnfili se traze prezvakati. Kao sto se an poseban nacin ponovo probijaju neke emocije kroz mene kao cvece kroz zemlju, ponovo i ponovo, iz godine u godinu. Kao sto strvarno jesti korenje od Narcisa, koje u stvari lice na crni luk je strasno otrovno i pojedinci od slabog crca mogu umreti od toga, kao mala deca i starci, kao zaljubljeni mozda. Moram probati i to pa makar se trovala. Kao ta mala razlika gde se nalazi opet to cuveno slovo ‘o’ ipred trovanja (otrovanja), umesto ‘e’ usred prezivecu (prozivecu). Mislim da cu nazvati performans ‘I eat dirt to be close to you’, posveceno cvecu.
What I think, feel and experience at the moment in my mind is the IDEA of being connected, being attracted or to be more specific being united. The fact, an act, the backstage reason of wanting being united (Amalgamation) itself.
This mostly subconscious phenomenon, takes place in peoples lives every moment, revealed in striving to have a beloved one, a friend, a person with whom they can live, do things etc… get united.
For Ordinary people, Artists (creating), Buddha, (unifying with universe), Jesus (love), …. Etc
The act of creative process, caring, sharing, every single moment is seemingly motivated by inner wish of being united.
The very interesting part here is the analogy of our (human) senses to the ideas, and the reactions (unification) of the ideas themselves. Which I will work on in the process of research – production.
I would like to create an environment which will reflect this idea (the metaphysical reason).
One of the ways of revealing the process is by setting the conditional units which will reflect 2 elements that are visually uniting, thus help to create the mind vision of the reason in ourselves.
“When my mind stays calm and still only some sparkling (unifying) ideas bring the excitement and the feeling of understanding something real.”
I’ll be taken a close study of my environment, my place of birth and where I‘ve lived and grew up. Originally am from Delta state of Nigeria, In the search of greener pasture and white collar job my parents migrate suburb of Lagos state called Ajegunle. There I was born, lived and breed. The city is now becoming a breeding ground for art personalities and significance. Indeed the place is notable for its moral decadence and indecent housing system. Dwellers has been a victims of official neglect by the government,, life is nothing else but appalling in comparison to me new place cos everyone has been living in contentment (that’s the way it is becomes the slogan) Plans to reconstructing the environment and rehabilitate the people has been shoddily conceived and never saw the light of the day. The striven thing about the people, there life style and everyday genre is that they keep hope alive and live in contentment. The economical and political situation has fashion them to be debaters of such issues as a way of life, if only their voice could be heard they are potentials that could profess changes to humanity in the society. I know I owe a lot to my society, I often aspire for greatness not for selfish reason but to reason how long shall we remain like this economically politically socially when we know the truth. In essence, when I look at life in my place of origin and compare it to life in my new migrated place, I see both as two extreme. My place of origin has a short coming that could be improved on and that’s what they could be enlightened about. To capture a glimpse of my original environment in compares to my new environment would create an awareness of the socio economical decadence and deprivation, putting them in abject contentment. Two things are involve in my research and development, to portray and create awareness of my environs in visuals and audio which I believe in some way will impact to the society and establish goodness to humanity
When we look at the world of today, we can see that the wars, immigrations, dichotomy and human rights violations continue to take place. People who have been getting along fine for thousands of years are disaffiliating or fighting. The lives of human beings are worsening as time goes by instead of improving. The countries are dividing, people who have been living together harmoniously are left homeless and artificial borders are being set where they’re living. Violence, evil and militarism have replaced kindness, love and dialogue and have rendered the common living areas uninhabitable.
When we look at Turkey and its surrounding geography, the Balkans, Caucasia and the middle east, we can see that the violence, wars and dichotomies go on and ethnical nationalism as well as religious discourses gaining power. I was born in Hopa, a border county on the north east of Turkey . A village a little away from where I was born had been divided into two years ago when the borders between Georgia and Turkey were being determined. At first, people were trespassing from that border and later on the border was closed permanently. Years later, in 1989, the Sarp border was opened again and people began to meet each other as well as making commerce and establishing familial relationships. This was a beautiful improvement. What could be better than people coming together as well as establishing dialogue and new friendships.
Now, this border is open but may be closed again as a result of a war that may erupt. Even if such a case doesn’t happen, people are constantly under the unease and fear of such a possibility. Daily newspapers, websites and televisions are full of news regarding this unease. 2 years ago, if the Russian army had invaded Georgia , Turkey would close its borders. Maybe it would even go into war siding with the USA . It is a frightening fact that the lives of the people living there are based on such sensitive balances. That’s why I want to make an emotional film titled “Rejoining / Not Rejoining” criticizing this situation.
THE SUBJECT OF THE FILM:
This is the story of a 30 year old man and women seeing each other for a few minutes and separating after a hug. It will especially not be indicated whether these two people who have seen each other for a short while are lovers, siblings, a married couple, relatives or neighbors. Viewers shall determine these themselves while watching the film. It is the story of two people getting out of the homes in different geographical points, going to the meeting place, overcoming certain geographical obstacles, passing through military checkpoints, meeting on the border line, hugging each other right on that line over the barriers and then separating, other other words, them being rejoining and then separating, not being able to rejoin.
THE LANGUAGE AND MUSIC USED:
The movie will be in the laz language. This is an ethnical language spoken in Georgia and Turkey . It hasn’t been written or taught for many years because of the governmental assimilation policies and remained as a spoken language used among the people living there. This language mostly known by the older generations is about to be forgotten and it is therefore of great importance that it is used in this film.
THE CAST AND THE TECHNICAL STAFF:
Two 30 year old actors who can speak the laz language as well as 50 locals residing at the villages nearby shall be used in the film. Acting talent isn’t required of the cast other than the two main characters and the people living in the area shall be used in order to preserve a natural feeling. The film is planned to be shot with a technical staff of 10 people consisting of a cameraman, electrician and sound operator.
During the shooting of the film, 2 high definition digital video cameras, the accessories of these cameras and sound systems shall be used.
ENVIRONMENT PLANNING, DECORS, COSTUMES AND ACCESSORIES
The film will be shot in the Sarp, Liman, Esenkiyi and Bucak villages close to the border. The film will be shot in village houses, old mountain roads and the forestlands. Military clothes and the daily clothes worn by the locals will be used as costumes. As accessories, weapons such as machine guns, guns etc. for the soldiers and the militia as well as two motorized vehicles will be used.
ACCOMMODATION, LODGING etc.
The accommodation and lodging needs of the actors and the technical staff who are not locals and will come from outside the county shall be provided fort he the locals living nearby.
indeed where are we with our proposals, my furball mutated into a furcar in the last few days, because i couldnt justify its presence in the beautiful nature. Thats how my development looks now! ))))))) wont go on about the performance video with it.
a fox, a horse, biting, decay, residue, yes yes yes, lets become one, lets leap into regression…
After i read you suggestion i have immediately thought about few works that i wanted to post… “Dark side of slapstick” !!! Brilliant, i know exactly what you mean! I see you are wearing fur in the images… I should probably throw in a few ideas…do you think there should be a dialogue between us, may be we can write smth…or should there be some tension/longing to be separated? On my trip to London i went to white cube and there was a show by Candice Breitz:Factum, video portraits of twins, and some of the twins talked a lot about how they wanted to separate from one another and the opposite and how they felt they were one person….
Throwing in some works for us to bounce off…
Lygia Clark Dialogue Goggles 1968 (left)
Laura Lima Quadris/Hips 1996-97, Marra/Fighting 1996-97 (right)
Sigalit Landau Three Man Hula 4 min 1999
Lovett/Codagnone Each Man Kills the Thing He Loves 2005, performance,
Lovett/Codagnone sat back to back on a gallows, their hands tied on their laps and their hads bound together by a double leather hood (evokes executioner and victim) performance lasted 1 hour, artists recorded voices could be heard reading an excerpt from “The Ballad of Reading Gaol”, after the performance ended, the installation and sounds were left.
Breaking the apple with your forehead! I remember that! I knew we were going to have a future together when you suddenly did that on the coffee table somewhere in Baku. I meant to write that before, I don’t ever want to forget it, so I wrote it down, for the record.
Where were we? With our respective works, the last time we were both here; a furball, a fox ?
I thought for tonight, I’d post up some images of the most recent incarnation of Fox Cub which I performed for Winter Rites in London in February.
A thought. An ‘animal’ performance piece, this time involving both of us. Something we could not do alone. Ever thought about how if you tie two people together it’s easy to think of a horse or some other four legged thing, immediately. The results being possibly gracefully restrained and perfectly timed, possibly injured. Tragicomic probably. Thinking the dark side of slapstick together with genuine wanting it to be convincing, to be a horse. A costume is not even necessary. I love our awkward chemistry as it is. We should try this! Sort of the opposite of never thinking about the fact that Claude Cahun was shaven most of the time and that everything else was a fake. All that hair. Horned curls of wet black, blonde plastic plaits. Shaven by night.
Let me know what you’re thinking. About.
It’s raining in London. Again.
(Photos by Julia Suermondt, mostly, the blonde woman with the bite marks in the above photo, so this is not one of hers.)
If only I could walk in air.
It s better than to walk on the ground.
Feeling time pass and still be here.
It will be so lovely indeed.
what is the alternative?
If I could I ll be in the air
It s good for my health.
And from there I see clear and everywhere.
It s better than to be on earth.
Like all little things indeed that come and go.
Come and go.
It comes and goes.
Goes and comes without any signaling.
The rising and setting sun.
Its spreading rays.
Does it matter if one does not know how things will be ?
Yes a totally obscured future.
smiling , will it it better if it were not?
Like the type of future we dream about ?
I dream about?
You dream about
Smiling, its crazy all these
Yes it is ,it makes no sense at all, so that is why I guess more attention should be paid unto it.
Time will always elaspe . It is time. So?
It matters most to keep moving , with no idea of what is heading.
It s not a law.
With pleasure , deciphering each puzzle.
Each bit of us known or not.
Sad , happy, tired, or vivid.
For a while….Silent , in silence.
And if I were wrong?.
Guilt, shame, remorse, illness.
Falling , standing, creeping…Yes.
Oh..I m tired.
Standing , looking , thinking , feeling…
I m human.
Moving forward ;
I m happy of a new happiness.
I m happy of a new place.
One made by me.
It is an e-motion.
It will stop.
whatever, I d be on already.
It matters most.
it s just and e-motion
I don t care, I on…. I m on !
slowly, bits of me.
Greetings to you Bindu and to you Florence .
I just Found out there is a group of women that have been sewing their pain in the north of colombia. I am so amazed that I dont have yet words. I love the project, I love what they have done.
It is sadly all in spanish, but the fabrics are shown in the documentary…
Is it too bad to have the same intention in my project!?
According to myth and legend, Lilith was the first woman, created before Eve. She was Adam’s absolute equal.
In the Garden of Eden, long before the eating of the apple, the Holy One created the first human beings — a man named Adam, and a woman named Lilith. Lilith said, “We are equal because we are created from the same earth.”
— from the medieval text Alphabet of Ben Sira, 23a-b
I have come across some interesting research which finds many similarities between the Indian Goddess Kali and Lilith, both of whom in todays contemporay times are symbolic of power, strength, independence and power for autonomy. I have seen massive changes taking place in India, many of them are silent social movements orchestrated by older women as part of their daily lives. Younger women on the other no longer desire to be defined by their roles as home makers only. There is an intrinsic desire within them to be free from social and cultural taboos, to be economic independence, to be treated as equals.
I don’t know how life works, but I know that everytime you are really engaged with some project or idea, life brings presents that are related to it. For example, I met a girl, 2 weeks ago, who is working with an organization that works with women, and with the peaceful route of women on historical memory!
Now they are very interested in the project of the large embroidery, because they are looking exactly for that kind of projects for the women they work with.
The feeling is that I must engaged to this project because there is really a lot of women who need the space and the activity of bringing from their past their memories and leave a legacy on their experiences. They are eager to talk and express themselves, because they do not have the chance to be open to almost anyone because it is of course dangerous! I went to do some research on fabrics, and threads, and it was beautiful and moving for me, to just imagine how this fabric would look after being embroidered by all this women. And imagining that I must be very very strong to cope and listen to all this stories. But on that issue, I have had the same feeling for a long time, that I must confront and be open to this general pain that occurs all around, instead of running away avoiding this reality, I give a lot of thought on the victim/victimizer and that somehow, We ARE ALL victims and victimizers at the same time. So it is a bit like erasing myself, to become others, to understand others, to live what they have been through, it is a way to comprehend and give my heart to the people that needs it. But it is also creating from true stories, from the core of reality…
I’ve been reading a lot of different things. For example I found a writer which gave me a great idea for naming the project: “cambio de armas” which literally means change of arms/weapons, which is the title of a feminist view from the dictatorship inArgentina. The author name is Luisa Valenzuela.
She has a great book of short stories, and Cambio de armas is about a women who has amnesia and she has a lover who comes every now and then. She feels real only with him and also uncomfortable, but she doesn’t understand who he is and who she is. Finally, he tells her, he is a Collonel and that she was a revolutionary and they were enemies…
This title and of course the story stoke me, because I want to talk about memory/amnesia, femenine/masculine, and I’ve been realizing how the needle and the thread can also be a weapon/arm, but only that it works the other way around: creating and not destroying, sewing the wounds, reconstructing memory….In english it is also change of arms, because the idea is to make an embroidery route, changing the arms, the women the stories theplaces and renewing the memories, recoverying from the past, assimilation of the conflict, giving it some perspective….
So i think finally a title came to my shore…
I must leave now, work is calling me…
All our artists are invited to submit one or more proposals for new work, individually or collaboratively, by 1 April 2010. Please click here for the form:
CUBAN PROJECT by DANILO PRNJAT
Text by Aneta Stojnić
It is always a bit delicate to write about the art project that is still a work in progress. However, in this particular case it is a rather exciting task as the artistic concept itself already opens the vast space for theoretical reflections and debates on different levels of interpretation. “Cuban”, the new project by Danilo Prnjat will be realized through a real life action that shall be developed as a project within the art system. Methodologically, this isn’t a new approach for this artist whose work is often characterized by emancipatory practices that explore the possibilities of art to intervene in the real life, rather than just to interpret it.
The “Cuban” project will consist in the following:
In the first act of the project, the artist will help a pour Cuban citizen, unhappy with her/his current life, to immigrate to Serbia. For this person Prnjat will firstly provide a letter of invitation for the embassy (necessary for the Cuban to leave their country for Serbia), then the airplane ticket from Havana to Belgrade, accommodation in Belgrade rented for the following six months and some pocket-money to help her/him around until she/he settles. Secondly, the artist will assist the Cuban citizen to find a job in Belgrade and start an independent new life, leaving her/him the possibility either to stay in Belgrade or to go back to Cuba if she/he decides so. 
On the global level the “Cuban” project re-questions the position of a human life regulated by problematic mechanisms of power in the contemporary post-ideological world, with a focal point on the problems of immigration in terms of their economical and political factors. On the local level it questions the current position of Serbia as a post-communist country in transition that is currently confronting various new problems causing great social stratifications. We could argue that the artist is obtaining a somewhat problematic position of power by taking over the care for a certain (human) life, whereas life becomes the object of power (in Foucault’s terms). However, by obtaining this position in the context of bringing the immigrant from Cuba – a socialist country, into Serbia the post-socialist country in the state of primitive capitalism, Prnjat intends to show that in the contemporary post-ideological world mechanisms of repression are the same regardless the systems that employ them.
We could also argue that “playing” with the real person’s life in the purpose of art project can be regarded as ethically problematic act. However, the fact that all parties are willingly taking part in this performance, as well as the fact that the project provides a (relatively) safe artistic environment, and the initial intention is to positively act in reality, may justify this position.
By performing the “Cuban” project in the system of art (and not for instance as a private arrangement between two people) the artist intends to suggest that the mechanisms of political and economical regulation and control of human life may be confronted by real intervention in alternative fields of human activities.
 Upon her/his arrival the Cuban will be given an amount of money that would cover the cost of airplane ticket back to Havana.
Hi Breda and Luka,
Here are first developments of my idea for the IAA proposal. Let me know what you think if you find time.
I would like to make painting and sculpture installation with a sci-fi narrative using motif of an animal horn. For centuries the horn has been used for drinking wine during family gathering and toasting ceremonies in Georgia. It symbolises Georgian hospitality and occasion of honour. It creates magical and happy moments.
The fiction will tell a story about a British secret agency inventing horn-shaped flying and spying objects for infiltrating Georgian moment of happiness. Horn is a project of contemporary take on traditional food culture, means of social gathering and ways to reach a truly happy life. I will send more information in the proposal. Bellow are some images referring to the project.
Celebration with Organ Player Datiko, by Niko Pirosman
Old Boy in Action, oil on canvas, 2010, by Andro Semeiko
Man with White Gloves, oil on board, 2010, by Andro Semeiko
Spaceship MT, ink drawing, 2010, by Andro Semeiko
Ink drawing for a slideshow, 2010, by Andro Semeiko
Five Suns, oil on board, 2010, by Andro Semeiko
I have dreams of a place where ‘everything we can imagine is real’ yet what is real is not our construct.
Your last post resonates so much within me as so much true is it.
It s s like a second skin.
I guess our human nature has to do something with it.It s certain we re extraordinary limited.Yet , what is better in the universe than to be a human being?.
Close your eyes and think about nothing all will be okay.
Thank you for both your suggestions in the New Place. I have been down the weather a bit… will reply.. need a few days to myself.
Thanks Eline for the post, I think the work is really funny and thought provoking as well. It is so easy to live with misconceptions, with belief systems passed on to us by the media or past history. A simple example is that when I return back home, people associate me with what they knew of me in college in India, which is about 11 years back, I am not the same person, but it takes an effort to see and understand that this person in front of u is not the same person whom u may have known. We tend to typecast people, cultures because it is easy, why make an effort. When one is within a system or ones own known systems these attitudes do not become obvious, but when one leaves ones place of origin one starts observing things that one did not see before. When one talks about India, one wants to see Bindis ( dots put on the forehead), one wants to see henna, one wants to see pathos, one wants to see the poor, the beggars, the colour red, yoga, spirituality, bollywood, violence- non-violence- Gandhi…… they are the given knowns, easy to identify and hence Indian. Outside all of that nothing is Indian, one see’s this being done repeatedly within the media, within art exhibitions, within the general perceptions of people, in newspapers… and i want to address this fact through London Lagna. Many cultural practises being shown here may or not necessarily portray the India now, also many of these practises make sense within the context they are in within their own country, and the many cultural practise when placed outside their origin become mere nonsense.
It is a principle that all humans seek for pleasure and have aversion for pain .Normally that is.Well, the subjective nature of pleasure made me to wonder on its essence-It s hard to talk about something so intimate-.This because pleasure is part of our private self.Why should it be so. So it s thus true humans are all egoist. As time elapses I tend to think that the “pleasure principle ” – Freud theorises that the Id is our resevoire of what we would like to do always – seems to reign in our world.
It s anxiogenic not to find the right type of pleasure? One that is within the limits of our psyché.Limits?. Does pleasure have limits? If so not all plesaure are of the same nature.Culture , eduction,socialisation , make things difficult.They produce a sort of unawareness.Too much or too less.
Yet , it seems biologiocally we re made to savour life.There is this fact , we have five senses.Each one having a specialised area in the brain to treat information from them.
Does it matter how long pleasure lasts or is it having it that matters?.
There is a sort of entanglement that I find difficult to escape from.
It s like jogging, there is a point where after haven exuded sweat, the brain and the body , the mind and the body seem not to exist.This language between the body and the mind , this concept of pleasure , the object of our quest, the feeling it gives us as human beings, seems to construct parts of our umwelten.
Sensuality , sensoriality , well what are all these? .
It never ceases to intoxicate the self .It is never enough, more is never less, always more and more .
The thing that bothers me is that how to end with the feeling of servitude.
Pleasure is everywhere , in the air , when you walk in the streets, in a sweet-food, in a bath , in communication, in act of communicating, the ‘scene primitive’. in a book…
Perhaps it will be better to share pleasures , yes I think so.That way our umwelten will just be futher enriched and new semiospheres will arise.
what is your pleasure? Saying it is already the begining of the construction.
I have a weird feeling.It’s a mixture of tremedous trill and fear , a sort of sweetness and bitterness seems to tint my mouth.why? I ve been dreaming of this instant.Well, I guess I have to talk .That is all I have to do.I hope you re all doing good , All of you here.-Breda, Eline Andriana ,Monica, Andrew, Titus, Danilo, Ana,Fikret, Denizhan, Goddy ; Florence, Hazen , Issam, Luka, Bindu, Taus, Natalia, Thoko, Andrew, Yang, Bei.
En passant , it is a hot day , and I m just glad tomorrow is coming faster than expected.Viva la vida.
Bindu, take a look at this, Funk Lessons by Adrian Piper. What do you think? Also see this work by Senam Okudzeto.
I had very encouraging meeting with the Cambridge Ethnic Community Forum, have planned meeting with Marshal Airport to expierment with the coulor x-ray machine, planned educational visit to the Dissecting Room at Human Anatomy Centre and stimulating discution with a friend anthropologist whose research explores various contexts where bodies – whether living, dead, or in the form of medically usable remains – become the sites of economic, legal, political, scientific and artistic attention.”
So, I look forward to your feed back on the idea itself.
On another issue, one of my drawings has been selected to appear in a new exhibition, and this is to invite you to
MODERN TIMES – responding to chaos
Drawings and films selected by Lutz Becker
3 April – 13 June 2010
DE LA WARR PAVILION
Bexhill on Sea
This exhibition comprises drawings, prints and experimental films, and explores the recurring tension between figuration and abstraction throughout the 20th century and the ways by which ideas and concepts evolve. It encompasses movements such as Constructivism, Futurism and Vorticism, Abstract Expressionism and Minimalism, and comprises works by key artists, as well as works of artists who have been sidelined in the mainstream of art history.
Hello Titus, your last proposal sound experimental and great for me. I like to see how it progress.
As for my second project Idea.
I want to continue with the project “My eyes my world” (MMW) a participatory photography workshop for socially deprived or vulnerable children. Last year I was able to work with some children from a beach community in Lagos called Kuramo. This beach is notorious for children who left their parents or families to seek refuge there. Many of these children get expose to various social vices especially since they they lack parental care or mentor to put them in better path of life.
The MMW project is meant to empower the children and give them a voice in expressing their world to the larger society. Last year, with the support of the Spanish Embassy Lagos and a Street Child Care and Welfare Initiative. we recruited about 7 children from the beach. Today am happy to inform you almost all the seven children have been reconciled with their families through the NGO.
The workshop was also climax with a exhibition at the publish place in Kuramo beach, a harbor for children abandoning their families. I was touched by the response of the community to the modest exhibition. They keep on asking about the project and how they could take part in it. It even created informal dialogues about the social of children in Lagos and the responsibility of the state. I think the project was the best that happen in my life and just hope there will be support to continue it this year.
This year my intend is to continue the projec at the Lagos state remind home for Juvenile Delinquency.
My intension is to see how this children could use photography as a way of expressing thier realities of life and means of empowering thier self for better future.
I soon start research on this by visit the Lagos state remind home. By the way, I will be off to Zambia from 20, March and Back 1st April. Maybe we could meet some of these days.
some pics of new paintings related to ideas for my proposal
I am no longer living in the artisitic residence. I am living in some other place, full of new experiences, near to a town called Villa de Leyva, the place is called el Arca verde. It is lost in the mountains, and we live in a very rustical and simple way.
The house is a Maloka, which is circle house, traditionally build by hand, by the indegenous in many aereas in Colombia. It is an Ecoagricultural hostel, where you can learn bio-arquitecture and permaculture. I am very happy to live here now. I have been travelling around Colombia for six months now. This place is the most interesting one until now. I wake up very early. I go every morning to the vegetable garden, then to the mountain and offer my day. There is a stream where I like to go an think and make little “sculptures” with stones. I also work building the new guest house, and of course cooking.
Here I am posting pictures of the new landscapes and some of the food
Nice to read from you Florence.Il y a longtemps !!. Well, you know I m a freak of wanting to do new things so I guess your suggestion made me to be more motivated in a way to do this research. Yes again , I find women terribily interesting in all aspects of our lives ! God was not a fool to make her.
I find your suggestions very to the point and indeed I will go more into depth.Merci beacoup !!.
Time factor I had juts to use what I had.
What about our joint work, is the theme New place :…….?
It rained very early this morning.
It was fabulous to see how the sky darkened within such an instant.It rained for about 45min.
It has been cold all day .Today is always better than yesterday .
Me and Andro have decided to make Individual proposals, as our vision is different in various aspects. We think to make a separate proposals and if it would be possible, link our works to each other in the process of developing. if we find it to be linkable.
“The following is just a moment of thought provoking and mind purifying procedure, almost necessary for every artist”
Thank you Breda very much,
It’s pretty interesting work and what I like in here is that it is a real time thing: well almost real time! Anyway, so I always wanted to do something that corresponds to peoples (in general) understandings. For example: if I look at the cloud and I see or imagine an image of a flower… My question would be: what? How is this a flower? I see the flower and it’s not real!!! Hmm how sad… but actually only because I know that it’s not real!!!
So when we try to do something that we as individuals consider as part of our “mission” or “talent” or “passion” … every 3 of it does matter but…. stop! —
Now to clear things out yeah: yesterday me and Andro came to a fact that we really feel what we are going to do, but do not understand it… and an actual reason why I’m writing things down could be; to clear my mind in order to understand it better.
I’m sure Andro is in the same process but behind the scenes.
Now I’m being conscience… and eventually I understand that the flower is real as much as I could feel it to be real. If there is some way that can people understand what they really want, see, and feel, is to interact In the same I would say pallet that they are, and in the same space as they exist. Actually it is almost impossible only because you can never become them and they feel as they do, because they are who they are.
Is it a solution? No but if I would say that I can feel as the other person feels than I could really understand him. Ok now I don’t think that it is so important…
Whatever matters much is this actual moment, a second when you can clearly feel the flower and you can say that it exists.
The rainbow process … did you hear that? I said “the rainbow process “ logically it shouldn’t be important but if we can create something that could have a common structure with a “rainbow” and a “process” it might represent what I call the re-union of the particles when 2 becomes 1 and when 1 becomes limitless… What PARTICLES? Read on here
So as I said before you can never be an artist if you don’t write some stupid random ideas on a piece of paper.
Actually on Imagine Art After.
I looked at you work in catalog of Artisterium and I like your scientific approach to ideas. I think you should definitely come up with some ideas for Super Art World and what language we might speak there.
I think Luka, we probably should develop separate proposals but they might be connected as a result of these discussions we had.
I will work on my spaceship Khantsi and Electromagnetic Rainbow with paintings, drawings etc. I think I can make a more coherent work like this.
thanks for the link, its interesting. It makes me think whether I want to deal with politics in the work for IAA project, maybe its better to tell a fairytale instead.
On 13th Feb, I posted a response (scratching the right spot) to your photos of Int. Women’s Day in Cameroon.
I am delighted to see that on March 8th 2010, you entered the Spaces of Women – great! – you called them “Best Creatures Ever” in one of your communications.
Will the approach be your own personal point of view or perception of the Women in New Spaces through their dress? Just wondered if you were able to lose yourself, completely, into their own spaces; their femininity. It would be great to have an insight into how the women feel, what they think about their New Identities in contemporary Cameroon, or how their bodies are metaphors or symbols, an outlet, and an exhibition platform for personal ideas. Grande!!
Bindu, I was thinking that My Indian Bride could work well on a website that used the approach of Database Narrative. I have not done this myself, but you can find some examples on the Internet; especially as you are thinking that other women could add their stories? – kind of user-generated media. Maybe you could look at what Lev Manovich and Marsha Kinder have said about Database Narrative
Nice to reda from you Bindu.Your proposal is just too lovely.It is very very interesting.I mean I never knew that there was such a fond for the status of the broom.
Pardon me is it linked to the alpha status?.
I guess the essence of marriage in your precised context is to “free” the women from their mothers. By so doing , they might live better their feminity and their sexuation. I agree with you that the fact that women devote their lives to their family , they might feel very strange when they do not have them again.It s like a mourning.Yet , I don t know if there is not an ambigious feeling portrayed by the mothers.
I guess if the mothers get to have a bride who will be ‘willing’ in way to be their’ girls’ again , things might work.I was think about the independence of these brides and even their determination not to be possed by no one . After suffering a lose , how will they accept a possesion?.
That is what I think.
How are you?
Standing in the cup, many of them.
Different they were , in forms, in colour , in type, in effect produced.
They should have found it difficult to choose.
They should have found it difficult to wait to be choosen
“Pick me , pick me, pick me ” they all shouted
Looking at them , silently nothing seemed different.
They w ere all pencils,crayons-words or things.
Images, sounds, photos, envies, dreams, wishes, us.
In between time , things changed though ;
From the time thought began till the time hand decided.
This very moment was the begining of awareness.
Deciding , a process which caused frisson.
A feeling, an envy , a taste, a desire , disgust…
A curve , a smell, a note , death,lust, lost…
An intention , a message, a moment, pathos…
Again…a game, a lure , crypic clue, sensationflow;
That is words , then ;
Guilt, fear, love , courage, responsability…
more words ;
Finally, a creation
Didier de Masso.
Oldage brings about lonliness, especially women are more prone to it than men, more so since they devote their lives bringing up their families, and their children who grow up and move on. women tend to feel a sense of void an emptness, a feeling of not being wanted anymore. thinking about the Indian brides, i was wondering whether it might be interesting to set up a website, photographs of the younger and older women could be put up with their background history- probably a social networking site with a different pupose, whereby older women could be made to adopt a bride who was has been left behind by their husband, it will give them another purpose and maybe for the women back in india, an engagement and support outside their family which might end up being more meaningful. The exchange could take place in terms of communication, shared stories, histories.. Please do give me your feed back, will really appreciate it.
there is a growing problem with NRI marriages.Many NRI’s come to India get married and then abandon their brides. These brides are now being called the Holiday Brides. The women are left waiting for their husbands, who never turn up or do not call for them to join them in their own countries. Many of these women do not have the oppurtunity to get married again since the society in many a small towns and villages is very conservative, they are shunned by the society for no fault of theirs, they depend on relatives for financial handouts. my heart goes out to these women, i can understand what they and their families must be going through. On a persoanl level i have known 2 such women, one of them came back but the other had the courage to start a life for herself in New Zealand. There is also a growing awareness regarding this problem, but as of today there are are thousnads of women whose families have become destitutes, selling their lands off to pay dowry for their daughters so that they can get good husbands. I thank god that at 20 I had the courage to say no, but there are thousands unlike me who are waiting for years for their husbands of a few days to come back, take them to this dreamland where there will be an end to all their problems. AND WE LIVED HAPPILY EVER AFTER….
The camera is a powerful extention of our senses.Even though it contributes in modifying reality it enables still to see it in some ways which the unaided eye cannot.
I m going to post a series of photos of the women’s day.As i said in one of my last communication.I m using the dressing behaviour as indicator of mental structure.The interpersonal differences should also be noted as well as inter generational differences.In reality the singularity of each an every people is fundamental in the understanding of certain aspects of our universe.I don t think all humans follow thus regularly or harmonously Maslow’s Hiararcy of needs.Why? I hypothesize that the experience groups of humans have lived has radically changed their mentality and as well the interaction between each of them. This issue has brought about the creation of a mechanical mind. A Mind whose structure is totally predictable due to the mixing occuring in terms of culture , and finally habits and behaviours.In some years it might be queer to see someone who is different in mentality. There tends to be a sort of robotized society which makes the sentiment of being human something difficult to bear. The brain fears things which are new and this new experience is source of anxiety and distress.
Internet , mass communication and finally our own perceptions of all of these create a world which seems to be governed by harsh rules. Rules which nature does not have . Rules which create chaos within our psyches.The issue is that most of what is unbearable is repressed and then transmitted from one generation to another.Since everything that has a begining has an end,the generations coming will have mental structures totally under tension,unstable.
There is a specificity in the occurence of different sexes.I think it is a ying and yang.Perhaps we know it so well but with the mechanical mind in action this knowledge becomes repressed.
It could be interesting to invent a device which would be able to measure objectively subjective experience of reality.It is fundamental in understanding How much harm has cultural hybrization caused to us humans.How will we look like in a 100 years , will women be men and men be women? Is it the right question to ask? What sort of evolution are humans into? Perceptions of the world in my place – yaoundé.
why three characters? how will your narrative move beyond illustrating issues above? is split-screen an effective or on obvious strategy in dealing with duality?
Characters: The choice to use 3 characters is a consideration for the length of the film, which has implications for the budget in many different ways. Actually I may have to limit the characters to 2 only in order to provide a good insight into some of the questions and issues I indicated in my draft proposal (posted on March 3rd ). However, I am open to suggestions regarding engaging more than 3 characters.
The main narrative for the film will be framed around exploring the characters and their situations in specific contexts/locations (public & private), involving encounters with family, friends, etc. The plan is to film at least 2 individuals whose experiences show a range of points of views and attitudes. With familial relationships in particular, there’s always opportunity to explore conflicting ideas, attitudes and opinions when it comes to first generation immigrants desperate to maintain certain aspects of their culture – What kinds of tensions are generated in families when first generation immigrants find ways to remember, maintain and express their Cultural Heritage in a new country, far away from Home?
As the development for the project continues, I will focus and limit my choice of characters to individuals who have deep and well established social and economic connections ‘here’ and at the same time have emotional and other connections back in the ‘homeland’. As an example, there is always a clash of ideas and attitudes between first and second-generation immigrants, and their outlook and feelings towards certain aspects of culture and identity.
Both characters and locations will provide valuable creative spaces to imagine and construct the complexity and multifaceted aspects of identity and belonging. I think that the use of split screen is more than just a strategy for dealing with duality. I am hoping it will provide a space to complicate, question and imagine the complexity of cultural differences and expectations as well as other less obvious dimensions that move beyond duality.
I am still thinking…
At this point in time, I am not able to provide very concrete situations to clearly define the narrative thread to the extent of saying specifically what will happen – as the film deals with real life situations; some things are uncertain. However, we will see the characters in circumstances that to engage the viewer both at an emotional and intellectual level, and through these, reveal the multifaceted complexities of identity and tensions of belonging ‘here’ and ‘there’
More as time goes by….
Just to make sure I understand, Andrew, your proposed project is a documentary film/video?
Indeed. The Documentary film/ vid will document my social interactions and the processes involved in the creation of the products of these interactions. In the end we will have a series of works – performance, music, sculpture, drawings accompanied by video.
A NRI ( Non Resident Indian) is believed by many Indians to be an ultimate catch, smart, accomplished and intelligent. The Indian mindset is such that people are convinced that the brightest and the smartest men always head towards western countries, where their intellect is appreciated and rewarded. Material comfort, economic security when added to the brand value linked to living overseas, becomes the dream of every parent for his daughter. Working abroad certainly means more money, greater recognition of talent; an excellent work environment along with immense job satisfaction and success. A Dollar, Pound or a Euro salary helps afford good lifestyles. Back in India, NRI’S command a new kind of respect, doors open for them, and heads turn with a look of awe and admiration from all around. There is a fetish for anything foreign! Within the marriage market, these men are highly valued and are a dream come true for many an Indian women. Perhaps for some they also symbolise freedom from patriarchal and the conservative family structures existent in India, and for others economic prosperity not only for themselves but their extended family as well. Many such brides often coming from villages of Punjab, UP , Haryana and Gujarat have little knowledge of the language, culture and traditions of the country they are migrating to. They move from one conservative set up to another, living within the confines of their family, working, bearing children, looking after them till they are able to fend for themselves, fulfilling all their family responsibilities, till they grow old. Old age for many of these older women brings about loneliness. Gender, social, and cultural factors influence the experience of loneliness. Language problem makes it difficult for them to communicate with their neighbours and grand children. There is always the difficulty to find company with whom they can share their feelings or talk due to the lack of trust and insecurity. Their desire for human intimacy and social integration remains unfulfilled. They often find themselves wanting to relocate to India or thinking of the times they had spent there, in their youth, prior to their relocation as brides to the UK. Through this project I would like to address on one the dreams and desires of the Indian Brides and on the other the lonliness they encounter during their oldage.
For this project I would like to make 2 videos, the videos will be projected across one another. One video will consist of dialogues with Indian women about their dreams and desires for going to the west, with images of the Indian country side, wedding preparations etc. Right across will be projected videos about old women talking about their loneliness and their desire to go home. When the dialogues with the older women start, in the opposite screen will be images of Indian villages, fields etc,
I am not sure about the length of the piece. The title of the work will be ‘My Indian Bride’.
when you talk about investigating ‘misrepresentations of cultural practices in contemporary art’ can you be more precise? and are you really questioning it by recreating another (mis)representation in a gallery-set lagna? and is questioning it enough? how will it be engaging and go beyond the obvious?
Eline one can often see frugalities of open-ended interpretations of Indian culture in many international projects that often offer an extremely unreal/ romantic image of India outside the country. For example: A. R. Rehman’s Musical “Bombay Dreams”, some other recent crossover films like American Chai, American Desi and The Guru. Through London Lagna, I would like to address the fact that when works of art or cultural practices are placed outside their origin, region, locale, nationality or cultural origin, they often loose their meaning and significance. But in essence what remains at the end of a ceremony is merely a ritual. A brief example of translating the mantras-
Sanskrit – Maangalyam thanthunaanaena mama jeevitha haethunaa / kanttae bathnaami supahae sanjeeva sarasa satham:
Translation - “This yellow rope is managala suthram ( a necklace which symbolises that a woman is married). This will help my longevity. I shall now tie this rope in your neck. I pray you live happily for a hundred years.”
Yes Eline I am questioning it by recreating another (mis)representation in a gallery by using humor/sattire. I believe that one of the ways to talk/critique any system is by being a part of it and by opening oneself or ones work to crticism. Its something like saying dont east sugar its bad for you but i could also show eating sugar is bad for you by consuming large quantities of sugar. Living in USA, I came across most ridiculous practises like power yoga!!! or cross over dance forms here in London, where by the dancer/ performers have bare minimum knowledge of traditional Indian forms such as Kathank or Bharatnatyam and they are merging them with Ballet. Often little knowledge or insufficient knowledge of other cultures in the name of cross over cinema, artforms, end up at times diluting art forms, at times recreating them into some other form and at other times end up being gibberish.
Embroidery came up to me in a very magical way. I love this craft because it is very symbolic way to manuver your thoughts. My grandmother had the Alzheimer disease; she was a very refined embroiderer; she had it from her mother who was even better and I presume it goes beyond her… I am the oldest child, the first grandchild. As I lived in Barcelona, my grandmother was diluting and deleting herself…everyweek she forgot something, and it never come back to her again. Meanwhile I was in very difficult situation, because I became illegal from one day to the other because of a new law…anyway embroidery was not something I did. When I was most desperate I woke up one day with the will to fix my clothes. As I bought the threads and needles, I was feeling surprisingly excited to do it. When I started, I felt as if there was a thread floating in my back, piercing me and flowing through out my hand… It was magical and powerful; I felt a such a joy, I knew this feeling from nowhere but I felt so familiar with the craft. It was my very first time embroidering something, not just using needle and thread, but making a drawing, making a creation with it.. From then on I couldn’t stop .. I spent the whole week embroidering all my friends clothes, every hole, every horrible t-shirt became suddenly soemthing else…My mother called me at the end of the week informing me that my grandmother had forgotten how to embroider; I told her, no, she passed it on to me. My mother didn’t believe me, I had never been interested in any of my grandmothers crafts.
Nevertheless I felt included, I felt I belonged to my family in a new way, and for the first time….in some untangible way, we could communicate and I was bond to my grandmother and my great-grandmother and so on…
Embroidering makes sense to me in a very emotional way. It helps me disentangle my mind, and it gives me the sensation of being attached to a past memory that is far behind my knowledge and my conscience.
I think most of the hand crafts have a very special power, because it is a relationship with materials, with memory, it is a communion, it’s like a form of grace, when you know something that passed through you from your ancestors. Transfers into you, and then you have to use beyond the way they did it.
I have been using embroidery in non traditional way. In fact I don’t like to learn formal stitches, I like to invent or to be not so skillful. I like that embroidery has the power to transform any line into something else. I think it is because of the power of time. The time it takes, and also becasue it is a tangible line.
All the women in my family (around 15 of them) have been gathering together every tuesday to knit, to embroider or to make simply any hand craft they know. The power of this meetings its that they help each other, they talk about their lifes, their children, their families, their problems, they exchange recipees, and they also have piggy bank in each house and they save money for a special dinner at the end of the year.
The idea of gathering women from around Colombia, and generate a space in which they can interact, and exchange their stories, comes from here I think. I believe that when you create something that comes out from your sorrow, then it takes antoher meaning, and it is not only sorrow, but also is life connected with the divine, a new meaning. it is yourself creating something with your own hands. Getting women together and making a piece of fabric filled with all they consider worthy of remembering, it is weaving the country memory.
It is an act of “exorcism”. And it is a beautiful way of screaming and bringing to the present the terrible results of this war…
Am still researching on how to fabricate a device for my audio-visual concept. Not just the audio alone but has a censor that will detect the presence of human to get it switch on also looking at making the device to function on distance. The closer you are, it increases in volume and the further u walk away from the painting it diminish in volume. The audio is a representational sound of the visual. Hope to enlighten more on it in my next mail. Haven been around in my place of originality, thought we could meet up someday b4 going back to my new environment, its really hard for me to work out of studio and am working on a massive canvas trying to meet up with limited time I have to be at home. I thought I should give you a ring by tomorrow to hear from you. For now am occupied with a commission painting, the biggest have ever done so far and alongside researching what’s on my mind about my audio-visual concept.
it is about a way to read an forbidden book or information. and it is a useless way.
found an forbidden book for X country, and powdering the book , and mix gunpowder and other material to make it as an huge hanging incense which normally be seen in temple. and sell it to readers who from the country forbid this book.
How is the going? I am good and busy , busy.. preparing for my travels soon.
I want to apologies for my long silence.
Presently, I have two projects in mind. One of them is series on the female soccer where I intend to us this game which many africans are passionate as an intervention gender and Identity issue. I am keen to know how women fairing in the game often considered as ” Macho” thing. Intend to investigate how are females using this game to bridge the gender gap. What are the realities of life for them. The social, cultural and economical challenges of being a female footballers.
I intend to approach this project through archival research, interviews and portraits of the female football on and off the game. What do you think about this topic and advise or comments?
Oops, I have to leave for now. I will get back to you tomorrow regards the second project.
Please let me know what you think
I agree with the theme of New Place been included for each our individual proposals.
My first Propsal will be made of four Photos.
Photo 1 ‘representing’ Language.
Photo 2 a concept
Photo 3 an object
photo 4 the sentiment of being human – the self.
Have once again a lovely day you all.
I m just back from the match pass.
Each year A match pass isorganised in my town yaoundé during the women’s day. The kabas were lovely this year too.Very colored and the designs and couture were of all sorts.The creativity of the women tailors, – Most tailors are women in my town and seemingly all over my country- has been improving as women always want during this Day to be in their best and unique kaba.They will not like no other woman to have their design. There is such a viril appropriation of this clothing.
This year I was there again .Unlike the oher years I felt a bit weird.I felt weird because how how women felt.On field work is always for real than what the media say.There seems to be two sorts of women matching. More it seems there is a symbolic attachment made around the kaba and its accessories.
This feeling as well as their empirical observations made me want to work on how women themselves percieve this day and then themselves.
I m interested however in what the women on field say about it.How they feel about it and how in general it feels like to be a woman. I could have interviewed them to know but I ll use solely their dressing behaviour and their to what they associate the kaba to indicate what they think about their status , role and gendre even.
It will be necessary I pass a questionaire to do a detail study .It is in project.
I will submit this idea in the form of photographs by wednesday.
As I said earlier ,I intend to research all over cameroon if funding is availbale on the general perception of women of themselves.Women make about 52 percent of the total population in cameroon.Most of these women fall within The reproductive class and as well the labour class. What they think about themselves and how they act/behave is fundamental in the constitution of stable family structures and in promoting healthy family.
I ll go to some hot neighbourhoods to be in this ambience. It is hot now, very very hot. The sun seems to have reawakened .
Breda, Bindu , Florence I hope you all had a nice day .Happy day !!
as I understand, you intend to engage with THREE characters: “to provide new insights to cultural hybridity, and how new identities, personalities are negotiated between ‘host society’ and ‘homeland’.” then, you identify two basic movements:
I) While some people see this state of being as a positive step in socio-economic terms
II) some define themselves as ‘living in a state of limbo’, confusion, with no fixed cultural identity, and not actually belonging neither ‘here’ nor ‘there’ – a new foreigner to yourself and your homeland, and a ‘constant’ outsider ‘here’…”
why three characters? how will your narrative move beyond illustrating issues above? is split-screen an effective or on obvious strategy in dealing with duality?
think it’s best to await response from potential participants in the project.
I have been thinking hard about the best way to submit out ideas under the general theme of NEW PLACE. Bindu suggested that we should make a decision soon about this. My suggestion is that it would be best if we submitted our projects as individual proposal documents, and then we clearly state (in each proposal) that it’s under the theme of NEW PLACE.
I am open to another way of doing it.
Yes, the project resonates the concept of cultural hybridity. However, there is a distinctive departure; I believe that while most immigrants have acquired certain aspects of British culture, for example, they have also brought aspects of their own cultures ‘here’; these are thriving and they are openly expressed.
Reflecting on this within the post-colonial context, (as well as postmodern and globalised societies), positions have shifted so that the cultures of the people at the margins (the former colonised subjects) are being experienced, appreciated and have been absorbed by the dominant cultures – a cultural exchange of sorts that positively redefines the cultures of minority communities or groups. Aspects of some minority cultures are not only visible, but have been absorbed to the point where Curry, for example, is described as British Cuisine – an example of what Cultural theorists call acculturation.
People from the dominant culture, ‘here’, share and experience minority cultures and some aspects have become part and parcel of how the host society defines itself within the multi-cultural context. Today, it’s not just a question of minority cultures being influenced predominantly by the dominant culture.
The many immigrants who live (belong?) ‘here and there’ are not fully assimilated or integrated into the British way of life or culture; they choose, they mix and match what is on offer ‘here’, they also confidently express cultures from their traditional homeland ‘here’, and when they go back ‘home’ for brief visits, their ‘new ways of being’ are visibly different too in may ways over ‘there’.
The personal narratives and lived experiences of some of the characters selected for this project, In-Between Lives, could help to provide new insights to cultural hybridity, and how new identities, personalities are negotiated between ‘host society’ and ‘homeland’. While some people see this state of being as a positive step in socio-economic terms, some define themselves as ‘living in a state of limbo’, confusion, with no fixed cultural identity, and not actually belonging neither ‘here’ nor ‘there’ – a new foreigner to yourself and your homeland, and a ‘constant’ outsider ‘here’…
I can’t see any connection with visas?
Also have to agree with Breda…. about tanks…
Just have to be honest with you I don’t like the idea of visas, I think I have understood everything as it was meant to be. (please let me know if I have missed something).
To be more specific I think the visa things will be handled by governments of both UK-Georgia which are doing pretty well at the moment.
Those tanks you mentioned before are very beautiful but honestly, maybe there is something I’m missing, but I have gone through our dialog and what can I see pretty much triggered by our dialog is an actual debate on things that are present, and the viewpoint of me and you which goes to something that reveals our own vision in a way it is …. ( http://imagineartafter.org/2009/12/19/imagining-art-after-now/ the conclusion part).
Those things with bridges – connections
What most interests me in this part is the metamorphic (particle changing) aspect of the bridges but not bridges itself as connecting something.
On the other hand connection itself is an interesting phenomenon so we can think also about it.
I think we should continue to work on!
I very much like the way you see the rainbows, and your attitude towards it.
I would be glad to create something unique, I cannot yet tell you what it is.
I follow your ideas I follow my ideas and soon something great will come up.
What to do next?
I think we should not rush anywhere,
we have several more days… to get to a complete idea.
My Suggestions are to use:
The following are the topics (particles) that where actually present in our dialogue:
- ….Searching for language – a communication phenomenon.
- CHANGES “ but in a long term changes do bring interesting interconnections between what you really want and what you might have been doing in reality. How do you think about it?”
- RAINBOW The pic itself
- SUPER ART WORLD: those 1st and 2nd
I think we have triggered many interesting topics for our work.
And any feedback from you would be very wellcome.
I’ve been in an island of my own thought, mind setting my organs to comport my emotions psychologically and physically, so I can decipher and move ahead. Every fleeting moment each day I thought about what are my research, my mind flows towards documentation of my origin and my new environment. Sometimes I view life as its all about you… whatever the norms and doctrines, you owe yourself your happiness within or without. To some, life has not been so fair. There is always a way out… to comport the body, mind and soul. I’ll be looking at both side of the coin, researching on my experience between two cities. There is no limitation to continuity; it’s a dynamic world where changes are inevitable. Art encompass all of life, whatever our gesture, we all want result and hope for a reactional changes it brings. Then our experience on our immediate society is what we be looking at. Having view life from different environmental factors, I wish to share it visually documenting happenstance and scenario that appear similar but either due to differences in technological or scientific advancement. As a visual artist, making a statement with colours on canvas, I could remember the influence of my new environment on my art (painting) revivified in diptych of which my concepts are mostly themes from my origin. I’ll still be looking at working on diptych and will be conceptually interrelating scene from both my origin and my new environment to portray in diptych but can could also stand out as a single piece. As am presently in my place of origin, have been scouting around for resource materials through photography, so when am back to my new environment I’ll conceptually merge both resource materials to portray what’s on my mind. So in essence I’ll be looking at depicting tales, showing differences and similarities which encompass my experience, social awareness and a means of evaluating the human condition between my two environments.
imagine art after is about much more than building bridges (just like love stories are about much more than ‘boy meets girl’). I’m all for humor, so if you can really make us smile…
I would like to remind you that in addition to the ‘rainbow’ project, you also apply with a series of paintings.
Thank you for the helpful comments.
I do not think of it as a rebellion and I do not want the project to be about Hippie and flower power. This is just one element I though of… Maybe the tanks are too obviously flower power…
But Rainbow is a very interesting scientific phenomena. It carries in itself elements about the place it comes from. So in a sense if there was a rainbow between Newcastle and Tbilisi, a scientist in Newcastle can get to know, by analysing it, something about the particles present in Tbilisi, and vica versa. So in that sense it connects, it is a kind of bridge similar to concept of Imagine Art After. Connection from A to B, making a line, a drawing. Also I am interested in British interest in branching out and connecting, building bridges. Just think about how many of them are in London or Newcastle next to Baltic for that matter. Building bridges is part of British psyche. For Georgians at the present moment it is very important to build realistic bridges with its neighbours and distant friends.
I am talking about creating a satire, a visual narrative that reflects on Georgian (and I am sure not only Georgian) creative peoples’ aspiration for easier travel which I would like to connect and present as a criticism of the present situation with artist visas in the UK. Don’t you think this connects well?
Also, I think humour can play essential role in the project to make it involving.
Looking forward to hearing form you Breda.
when you talk about investigating ‘misrepresentations of cultural practices in contemporary art’ can you be more precise? and are you really questioning it by recreating another (mis)representation in a gallery-set lagna? and is questioning it enough? how will it be engaging and go beyond the obvious?
I am more intrigued by your indian bride post, even though the idea is not formulated yet, but it seems more related to you, Bindu. How does it connect to the present-time you, though?
not sure about the pink tank-flower-rainbow power (which is basically a safe velvety rebellion against any governmental/military power in general) and it’s ability to address at once “…Georgian recent past” and the fact that “in the UK there are very strict rules for visas for artists… if an institution or a gallery here wants to invite an artist from overseas… they have to pay a lot of money to Home Office, and the artist has to pay a lot too, and it takes for ever to process the documents.” it
The rocket can carry things to Georgia using Electromagnetic Rainbow. For example my colleges and very good artists Zoe Walker and Neil Bromwich who work collaboratively could be interested to work with us. They made several big inflatable pink tanks which they used for performances; Love Tanks. See the pic.
They could be interested to make an interview with me about preparation of these tanks for the flight to Georgia and occupation of its territories. Like a kind of reenactment of Georgian recent past. This video will contain packing the tanks into boxes in a warehouse and things like that. The footage we can show as part of our the installation about the use of the transportation device Electromagnetic Rainbow.
Maybe you can make an interview with some officials in Georgia about the possible impact of such a way of transportation. How can it benefit Georgia. I think it can be fun to create a fake, invented documentation which at the same time can reflect on our real problems.
From my side I want our project also to reflect on this problem: In the UK there are very strict rules for visas for artists at the moment. For example if some UK institution or gallery wants to invite an artist from overseas to come for a short stay to give a lecture, talk etc, the institution or the gallery has to pay a lot of money to Home Office and the artist has to pay a lot too and it takes for ever to process the documents. So it is almost not worth inviting artists form overseas for conferences or talks. A huge bureaucracy is going on. So our new way of transportation can be an alternative way to travel for artists purposes. We can write a letter to the UK government demanding to considering artists under their scheme called Special Circumstances and to let the artists travel thought the Electromagnetic Rainbow. We can exhibit that letter as part of the installation too.
Food for thought for the young Georgian architect: Today I was listening to the radio BBC 4 and heard that there has been invented some kind of machine which can
receive light from other planets and dissect it into a rainbow. This rainbow is analyzed afterwords to tell us about different things on that planet.
my understanding is that the project is currently awaiting response from UK based artists/filmmakers.
iaa will require a project (working) TITLE by 1 April.
The BUDGET should reflect the realistic cost of the specific activity you intend to undertake, in line with a TIMETABLE. Since at this point I am not aware of the details of HOW exactly you anticipate the production of the embroidery/textile piece, I can advice on a ‘wide brush stroke’ approach – the budget should comprise of material cost; participants’ fees (how many participants? what’s the local fee per diem?); travel & location cost (where is the activity going to take place?); subsistence (1 meal per diem and refreshments for how many people?); miscellaneous (post, telephone); contingency (10% of total production budget); anything else specific to your activity?
PLEASE NOTE: at the moment iaa is not asking for a detailed budget breakdown. an overall/approximate production cost will be required by 1 Apr.
I was 18 years old when i first received my wedding proposal from an indian groom living outside india… he wanted an indian bride.. i refused much to the dismay of my family. i failed to understand why the gentleman needed to come to india to look for a bride, were there not enough women from his own community in his country. i was made to look presentable!!!! to show my drawings, my paintings etc etc, needless to say i was amused and angered by the whole experience. the experience has stayed with me till today. i would like to work on this very idea of the indian bride. at the moment am trying to formulate the idea in my mind, will write the details in a day or two. This will be my last proposal, in total I will be submitting 4, 3 individual and one collective with florence and didier.
I will be submitting my last proposal on Indian brides.
It is amazing how when you have an idea, life brings to your shore lots of information concerning to this idea…I have been meeting, “out of nowhere”, women who work with displaced women or victims of war…. There are many and different kind of women’s associations throughout the Colombian territory that have a way to work out the pain, the sorrow, and have a broad conscience of historic memory. The hard part to define, is if I should go to different places or if I should just stay with a group of women… But I mostly feel that it should be a moving project. Recently I have made contact with a group of women that have a very interesting project, called The women’s peaceful route, ( this is one of the statements they shout when they march together “women don’t bare nor raise children for war”) they gather to travel thoroughout Colombia giving support to the other women victims of war, and making different symbols to express their thoughts, for example, they literally wash the blood from the colombian flag, because it is all stained with blood (which reminded me of my handkerchief washing the blood away), they protest making conscience about Glyphosate which is the is a broad-spectrum systemic herbicide used to kill weeds, especially perennials. It is typically sprayed and absorbed through the leaves, injected into the trunk, or applied to the stump of a tree, or broadcast or used in the cut-stump treatment as a forestry herbicide. That is what they used in Plan COlombia which is the Plan USA and Colombia have in order to wipe out Coca plants that are for most of the indegenous groups a sacred plant, the glysophate also contaminates the rest of the vegetation and water…
Now, there a lot of courageous women who have lost their families, but also give support to other women in the same situation, so it would be interesting to maybe work with small groups of women from south, north east and west of Colombia…
About the title I have a to give it a deep thought, because it is something that will come out but I dont know exactly how would I name this project yet…
Can I ask for help with how to make a budget, I have never made one and I would like to know how organize it properly, I feel this project would take a while because embroidering is a slow technique, but also because I think it is important to work with women before embroidering, and consider what should be stitch, what would they stimate that should be never forgotten and how to solve it out.
My intention is to open a space of reflection, to give them a chance to express their experience and transform it into something “creative” but also as to make a big embroidery document of historical/ emotional/ memory of their traumatic experience and give it a sense from a different perspective.
a very strong project, Adriana. it would be good to start thinking about the pragmatic aspect of the production (budget?). also, what’s the title?
I ll use a digital camera.
I ll use either black and white or colour photography.
I have shot already Four things. Four because of the symbolic value it has.It could not be any other thing but Four. We re three and I added something new. So my proposal will be made up of four photographys relating to language , (a ) concept, the self and an object.
My construction is dynamic.That is it involves forces , so the notion of conflict is present.Yet Four is a stable structure.
It is very hot now.I am having a good day. It just began.
I appreciate your efforts to make our work move Bindu and Florence. Recently I was thinking about my own sentiment of being human and I wondered what you think of me?
The fact is that in any form of construction a foudation has to be made.
Again ,the essence is that in the construction of umwelten all what we ve shared is there. I find it fantasitic indeed.
In Due time Bindu and Florence you ll see my visual construction of the umwelten.I ll Not be late. I ll futher talk about the techinical aspect of it in a next conversation.
Bindu , I like when things are said straight just as you did .Yet I was working when you said what you said.Thank you hwoever.
Florence I think your film too will be great.
We re doing a good job.
I love the structure of our group , the manner in which langauge, the self, concepts, and objects are been used.
If you ve noticed , we have three different personalities.Each with a particularity .Each too with flaws.
if we re using about the same languguage , we should be able to understand our selves.Its a Jackobian principle.Yet there is also something happening.At times however we talk to each other but we do not seem to understand each other.
I would like to know why?.
the proposals seems fine but how do you intend going about it… visually?
The text i wrote was not a quotation. Breda, this work will consist of construction of a mandap in the exhibition space constructed with available materials, Mock marriages enacted by invited participants with the recital of canonical texts translated literally from sanskrit into English making for nonsensical gibberish and a video consisting of a virtual priest reciting the texts, at the beginning and the end of the texts will be traditional marriage music remixed with pop.
I m sorry for the late entry.
I have not been so well , and again have been in a vortex of weurd sensations which though kept me working.
I m happy to be back though.
I m for a joint work.
I don t play with words I use them.Though I love words , so I could play with them when I like , I d rather believe I use them.I find great delight in using words .Perhaps at times I use them badly , I m sorry for this.However , within me are thoughts and feelings and words are the only material I have to use. I began using words before photography so my photographic image is growing.
My Proposal is called Construction of umwelten. The umwelt is a concept coined and invented my the german scientist and artist Jakob Von uexkull .Several umwelt make and umwelten.
Umwelt can be said to be in english the “surrounding world “or environment.In french it is “monde propre” there is a Japanese equivalent “Quismio”- which means my universe , or my space.I m just gong to use these three .I m working on other languages.
I will consider in my work the french equivalent of umwelt.This because it relates to the subjective perception of the individual of the universe taken to be everything and as well to my empirical studies.
According to Uexkull, the mind and the world are inseparable because it is within it that the world is been interpretated. He goes further to say that for the same environment different people will have different umwelten.
I find his idea fantastic because we are human beigns. Uexkull studied mostly on other organism of the animal kingdom.
I began my proposal with the sentiment of being human.
I think that humans use language , their human essence - the self, concepts, and objects to act onto the world , to interprete it as well.The idea is thus a construction as all humans are different culturally.Also because they live in different physical areas they grow up to be different physically.Finally because they speak different languages they don t perceive the world , the universe in the same way ( Sapir – whorf Hypothesis) they don t also think in the same way ( Vygotsky). Uexkull points out something of very interesting, when two umwelten interact a semiosphere is formed. A semiosphere cannot be the same as the two umwelt that made it.Taken into account laws in chemistry and the gestalt theory .
I find my self in a postion of growth , this place is new to me.my town I live in is again more new.The experience of living after haven intergrated certain things about the reality of life makes things always new- our cognitive structures are never stable.. So the contrusction of umwelten is my view point of how been a human , living with others real or imaginary changes , and has changed. My sentiment of being human now , and forever will always change.It s not eviedent our obvious as We do not know tomorrow.
Construction of umwelten is as well a reflextion on our essence generally and most on the manner we live .How the other is in our minds and how their presence influences us.The principle of interaction is fundametal in it as it is the mechanics of change be it within and without.
I d be glad to answer to your questions.
Didier de Masso.
In 2007 I ran a workshop, at the Cambridge Botanic Garden, with eleven refugees from seven different countries – Albania, Iran, Moldova, Afghanistan, Nigeria, Eritrea and China, where the participants took great pleasure in exploring the Garden and recognising plants from their home countries. They spent a wonderful afternoon building structures from plant materials, under the theme of ‘home’.
I thought to involve them again in my iaa proposal, so I went searching for the Cambridge Refugee Support Group, alas, after many attempt, I learnt that they don’t exist any more. I was advised to contact Cambridge Ethnic Community Forum, and I did, next week I am meeting the Forum’s Comunity Development Officer to discuss with him the posibility of collaborating with the Forum if my proposal to be accepted.
I would like to work with few refugees from different cultures to develop this seed idea for my project/installation on “Obscured, Displaced, Unheard and X-rayed” , which is to be made of four elements (each might be a separate proposal, and might end up just taking the obscured image and the cast, as the tension/conversation of material is much starker, but look forward to your thoughts!):
1. To take an obscured portrait (using my camera obscura) of each individual participant, similar to this (of mine):
2. Then I would like to cast each individual’s navel, here is the cast of my own:
But my interest is the negative image , which reveals the hidden part of the navel:
See the way how they relate to each other:
3. To ask each individual to put a bag, rucksack or a luggage containing few of their meaningful belonging/s, and to take an “airport” X-ray image of it, similar to the “false” translucent colours of this one (found on the net, about a travelor trying to smuggle 44 reptiles in suitcase) but hopfuly not of the same content!
4. Finally, to run a workshop with the refugees on drawing/writing about their object/s of significant and personal meaning relating to their memories of their past (if a written form to be used, to ask each individual to write in their own languages, and not to translate it into English). Here is a sample of children’s drawings from Darfur- Sudan and the other of mine:
The idea is to exhibit these four elements; the obscured portrait, the negative cast of the navel, the X-ray image and the background story , from each individual refugee – including mine, in one column (I know there is big difference between me and other participants; I am not a refugee, I could visit my original country, and see my family and be heard by my people, and others are NOT).
This is a sketch plan for my proposal, and if I fail to find any refugees here in Cambridge, I was thinking to propose something within this frame, but using “half” of the iaa artists (the UK based ones!).
I would very much appreciate your feedback from you all (iaa UK and abroad artists) , and willingness, to collaborate with me on this proposal if it is to go ahead.
It is proper to expect art to heal your sorrows? or at least to make sense out of them…?
When I think of making an embroidery group of women that have been through this colombian absurd money/drug war, or massacres or displacement, I feel they can use a needle and thread to leave a sign of what they’ve been through, to leave a memory that is made stitch by stitch, with a craft that demands your constant attention, concentration and creativity…it is like a meditation, I ‘ve noticed that when my mind goes away from the work, threads become entangled.
One of the products of this work would be the collective creation of a big textile piece embroidered by many women, where they register/stamp/imprint some of their stories, those worth remembering, those they don’t want to be forgotten… the stories can embroidered as personal maps, diagrams, plans, routes, etc…
At this very moment of my life, I feel the intense need to create in a collective way, I have had the feeling, many times now, that creation is not worth it if it is only to create a minor experience, I want to create a challenging experienced through and with others…make a bigger sense of it…
At the moment my life is changing like I’ve never thought it would. I left my house, and I have been travelling around Colombia. I have worked in many things, and finally at the moment my family turn their back on me, which led me to search for new ways and new places. Lonelines has been an amazing teacher for life. I have no fix home, I have learn how to be alone, and trust life further than what I see, this strenght that comes from deep inside me is nothing compare to what I have seen from women who have had violent experiences, that are so terrorific that one will think they will never come out…but surprinsingly a lot of women do pass this turbulences and appear with renew faith in life…this is what encourages me to talk and to work with this women…
I can work on several versions of the Rocket and send them over to you. We can discuss them with each other, but we can still make individual pieces that can function on their own as well as can come together in one installation. which can be presented as a pseudo documentation of a research.
I cant stop thinking about wanting to make a Spaceship or Rocket that will fly using electromagnetic Rainbow to Georgia to connect us and serve as an alternative way of communicating between UK and Georgia. What do you think about making a project into an installation which will present models, blue-prints, and maybe video about showing the research about the alternative travel?
I have looked at your sketches and blueprints of the bridge you made and I think you have good skills to design the launcher and the electo-magnetic Rainbow. It can be seen in a sense as designing a bridge to send Rocket Kantsi back and forth.
do you say this or is this a quote? I could be wrong – but either way is fine (if quote, please credit): “…investigates representations of cultural practices and portrayal of rituals in contemporary art and media. When placed outside their region, locale, nationality or cultural origin, they often lose their essence, meaning or significance. What remains at the end of a ceremony is merely the aesthetic misinterpretation of ritual.
what’s the medium? what are we going to look at?
London Lagna investigates representations of cultural practices and portrayal of rituals in contemporary art and media. When placed outside their region, locale, nationality or cultural origin, they often lose their essence, meaning or significance. What remains at the end of a ceremony is merely the aesthetic misinterpretation of ritual.
I believe that this work will offer an opportunity to understand how cultural flux, through laxity creates unconstructive mutations. One impetus of this review is the translations of canonical ritual texts recited into English.
in terms of a ‘marriage’ of cultural influences – something like this:
LONDON LAGNA- Lagna means ‘marriage’ in Hindi. “London Lagna” is a multimedia, performance installation. It investigates misrepresentations of cultural practices in contemporary art and media. Through the enactment of a traditional Indian marriage ceremony, London Lagna offers a humorous representation of rituals placed outside its region, locale, nationality or cultural origin.
The home project one could call it a self portrait, but using my own personal history, story or narrative I would like to talk about the unconscious dreams and desires of a person and the collective society as a whole. I know Breda, when i wrote the time period of the film as 8 minutes I was in a little doubt myself, since it does seem a tall order, but I will be showing people directly talking about me in third person, i will be using their narration as sound which I will be super imposing on visuals be in photographs, video footage etc. Ideally I would like this to be 8 minutes long, but I would also like to leave somethings to chance, it could be longer, but i do know that I dont want it to be a long piece like 20 minutes or so.
‘Home’ project – a self-portrait ,actually? all this* audio & visual information compressed in 8min?
*“…using images, photographs of all the places I have lived in, video footage, sound recording of people who knew me, the recordings will be in past tense, they will talk about this person called bindu her dreams n desires her sense of belonging to that place, her dreams of a good life, her declaration of her independence, her dreams for equality, her search for a perfect home, a perfect place, a perfect city etc. sound/music will be an integral part of the work.”
just to make sure I understand, Andrew, your proposed project is a documentary film/video?
the ‘wedding’ project – is it a past/future real-life event or is it fiction? what’s the medium?
‘Home’ project – a self-portrait ,actually? all this* audio & visual information compressed in 8min?
*“…using images, photographs of all the places I have lived in, video footage, sound recording of people who knew me, the recordings will be in past tense, they will talk about this person called bindu her dreams n desires her sense of belonging to that place, her dreams of a good life, her declaration of her independence, her dreams for equality, her search for a perfect home, a perfect place, a perfect city etc. sound/music will be an integral part of the work.”
Florence, the project about “a state of being in-between homeland & host society” – to what extend does it resonate the theory of cultural hybridity? if yes, does it depart from it any way?
Someone said a long time ago ‘the lord is my
shepherd I shall not want. I live by the dictates
of the soul of the world not what I or other people want.
There is however a realm of basic necessities necessary
to get anything done or to survive…we are all trying to survive….want is a distraction and I hate
to be associated with it.
Art is a product of the will’s interaction with the language of the and soul of the world otherwise it becomes out of sync with the planet’s cycles thus becoming irrelevant. The hand only works at the command of the will. If one’s will is ignorant of the language of the world then that ignorance breeds irrelavannce as the subject of the art will inevitably fail to speak to the viewers heart and teach the mind….Idealy all human interaction is artistic but we live in the age of utility in a utilitarian culture……
There is a hitch here…..my ideal interactions are void of money I find them to be free of want and therefore honest. But given the age of utility and the obsession with things and the domination of the idea that man being the totality of thought can not be seperated from matter which thinks……things are likely to be exchanged somehow – a smile, a conversation, a box of matches, a meal cash etc… But the key value here is the budget of the journey from where I’m sitting now to the point of interaction with the subject(s) – the whoevers and whatevers. So I plan to travel the globe on a limited travel allowance to cover visa payments and leave the rest to the gods including what I eat and where I sleep. Today the value of money is determined by the amount of labour that produces a product. I aim to create the value….so the budget I seek is purely for travel. It would be naive to attempt this on nothing I have calculated this figure to be a minimum of £3500 and I aim to work with the minimum and in addition to my prervious comment a video and voice recorder with a computer.
I will be working on another proposal titled London Lagna ( London Wedding).
Thanks for posting the mail and your project.You mentioned that at some point soon, we (Bindu, Didier & Florence) need to discuss if we will submit separate documents or one document clearly indicating our common theme of NEW PLACE. I think we need to do that now, since there will be many nuances and other things we will need to sort, a common proposal for us, how the work needs to be displayed etc. There has not been any concrete information, or idea proposed by Didier till now and we will have to set a deadline if we do not get a definite idea by that time we go ahead with the New place, though ideally it will be great if he does come up with his proposal now. Didier hope you dont mind, but it is getting late now and we need t take the proposals to the next level. I have been working on another proposal and feel that the one about my mother does not work well with our project about the new place. Hence I am working on the concept of a home.
the breif outline is as follows-
A home is a place of residence refuge and comfort. Usually the sense of home attenuates as one moves away from it, but it does not do so in a fixed or regular way. Homes can trigger self-reflection, thoughts about who one is or used to be or who one might become. These types of reflections also occur in places where there is a collective historical/cultural identity. As an alternative to the definition of “home” as a physical locale, home may be perceived to have no physical definition–instead, home may relate to a mental or emotional state of refuge or comfort. There are certain cultures in which members lack permanent homes, such as the nomadic people. In todays globalised world, the notion of home has changed meaning for many individuals. With the development of the transportation industry – the airplanes, cars, trains etc mankind has become mobile in a way one could not have dreamt of before. There is now an emergence of a set of people who consider themselves as global citizens, citizens of the new world, the neo nomads. Being at home now need not be specific to ones place of origin.
In our globalised world people leave their homes for myriad of reasons- be it social, political, economic or cultural. They live in a state of constant flux, thereby giving the person a sense of being at home everywhere but being at home nowhere. Being at home is no more locale or culture specific but is an inward journey for being at rest.
Through my art project I would like to address and understand issues such as notion of home, whether home is a psychological state of mind or just a social construct or does it exist in reference to the memories of the past, a lived experience?
If one is at home everywhere and one is at home nowhere, then is one living in a constant state of absence, can this absence be constructed through multiple narratives and can one construct a psychological profile of an individual to understand the unconscious dreams and desires of a person and the collective society as a whole.
for the project I will be using images, photographs of all the places I have lived in, video footage, sound recording of people who knew me, the recordings will be in past tense, they will talk about this person called bindu her dreams n desires her sense of belonging to that place, her dreams of a good life, her declaration of her independence, her dreams for equality, her search for a perfect home, a perfect place, a perfect city etc. sound/music will be an integral part of the work. The work should not be more than 8 minutes long. This will be a single screen projection.
I think this will work sits well with florence idea in the new place. please let me know what your suggestion is.
The main idea I am proposing is a little further down the page. But the first 5 paragraphs are important; so please be patient and read.
At some point soon, we (Bindu, Didier & Florence) need to discuss if we will submit separate documents or one document clearly indicating our common theme of NEW PLACE.
What I have presented below is not my final written proposal. But rather, some of what will form a substantial part of my project proposal. First of all, I need to present a brief background before I describe some of the key aspects and questions I wish to explore in my project. This is necessary in terms of context and locating myself.
Background: I am the ‘one who left home’. I am geographically separated from my traditional homeland; this is how I became part of this very innovative iaa “international multi-stage art project”
On our ‘special’ podium of NEW PLACE, we have been having a 3-way dialogue – between THE ARTIST WHO LEFT, THE ARTIST WHO STAYED and THE ARTIST WHO LIVES BETWEEN LONDON AND DELHI, but originally from India. Our three-way dialogues have generated a lot of inspiring ideas that led 3 of us to identify (and agree) a common theme to explore for our project (s) – the notion of New Place. We agreed to individually interpret the theme in any way we wanted. I have decided to develop a project that is related somehow to the reason why I am part of this iaa project in the first place – that is, being ‘here’ in Britain; away from my traditional homeland. I am in the diaspora.
I am part of the New African Diaspora – ‘New’ because our ‘recent’ journeys happened soon after we became ‘independent’ from our European colonisers; we are the post-colonial immigrants as opposed to the movement & displacement of African people due to the Transatlantic Slave Trade – the forced voyages across the Atlantic.
The project Idea is called In-between Lives (working title)
Here are some key elements and issues to explore: Living ‘here’, away from my place of birth, means that I am literally in a ‘new’ space, and I am also a visible minority with ‘newly’ acquired status. This new state of being comes with certain challenges and issues around belonging to two worlds – the host society and our homeland to which we are still attached to in many different ways.
This project is not directly about me - it will be based on other Cameroonians who are in my similar position – like me, they left our ‘traditional homeland’; they now live ‘here’, in the diaspora, and are part of what constitutes multi-cultural Britain. I am curious to explore the idea of NEW PLACE by looking at how others like me deal with the challenges of being in-between two worlds and cultures.
Stories of migration are not new; they are a common feature of African identity, like many other people who have moved and relocated for various reasons. Some of these people and their stories will never be heard. This project aims to tell a small slice of the myriad of diaspora narratives that are particular to Cameroonians who have settled here in Britain.
My idea is to make a creative documentary film that provides an insight into some of the complex issues around living in a new place and still being attached in several ways to the traditional homeland that is vastly different from our host society – different socially, culturally and so on.
The film will focus on 3 main characters (the ‘social Actors’) – their individual narratives will show aspects of their in-between lives, experiences and situations. It will show how their New and Old identities co-exist here; how they find a sense of ‘belonging’ to the host society; how they maintain a strong sense of their specific cultures from ‘home’ - through a manifestation and display of certain cultural forms such as music, dance, food, dress, etc.
Here are a number of questions that will form the basis of how I will attempt to show the in-between lives of the characters: how have they adjusted and integrated ‘here’? What new values do they inhabit? Didier suggested sometime ago that it would be interesting to know how the merging or mixing of different cultures affects the mentalities of people – I like this! Are there any specific social structures, spaces, networks and connections to affirm or preserve aspects of their cultures? What have they lost in the process of settling here? What is missing here, and how do they fill the gaps of the missing bits? What kinds of links do they retain in their homeland? Why? What tangible and intangible aspects of their cultural heritage have they brought here in order to ‘connect’ with ‘home’? – Do these make them a ‘visible’ part of the multi-cultural landscape of British society? Is this ‘New Home’ the final stop, or are they just passing though, to reconnect again with their ‘traditional Home’? Bindu, the constant traveler between big cities and the ‘World Citizen’ said that she has no strong sense of belonging anywhere with regards to a ‘home’; that she does not know where ‘home’ is. This made me to think about how some of us (Cameroonians) experience a state of being in-between ‘here & there’ – homeland & host society; home and away! How do they locate themselves between these two worlds that have different cultures/traditions? Do they reproduce ourselves anew when they move between these two very separate cultural spaces? Is there a sense of being in a state of constant flux when they try to navigate between these worlds? Are they always in a New Place both mentally and physically? One of the characters I have found has been living ‘here’ for 35 years; she runs her own business, and has two (2) children who were born here and are in their 20s. To fully illustrate the idea of in-between lives, it will be necessary to follow this particular character to the ‘traditional homeland’ where there’s another layer of New Place and identity within ‘home’ – a complex and complete reinvention of herself.
Here are some initial ideas or filmic elements: This film will depend on very strong and dynamic visuals; predominantly moving images. I will also incorporate still images (of the characters, objects, locations, etc). Sound will be used sparingly, and the main sources for this will come from either minimal comments or responses, conversations or monologues from the characters – these will link the different images for each character’s section to provide individual portraits in their different contexts or spaces. I will use montage and music as key elements of revealing character and communicating specific ideas and emotion. In some instances, images will collide to create a specific effect. Another important visual aspect of this film will be the use of split screen at various points to illustrate certain aspects and to express or juxtapose specific ideas such as to emphasise the in-between or fractured lives – a sign of modern times?
Format: Budget permitting, this film will be shot on a High Definition (HD) video camera.
The length would be between 10 or 15 minutes; again depending on what the budget permits.
That’s all for now.
When I said “There are some Facts that we can’t change no matter how hard we try to play with words…” I was actually referring to Didier’s relentless playing with words over and over again! Some things will just have to stay the way we (humans) have decided named them since we acquired language.
I hear you Bindu, thanks – I have been enjoying the process of our 3-way dialogue: communicating and exchanging ideas about our work, and much more. I
back to basics – (I) what do YOU want to say? (II) how is your desire going to inhabit the language (medium) you intend to use?
Hello Florence, Many a times we tend to weigh our success through social acceptance or acceptance of people in our own profession. This is a wonderful oppurtunity, just take things as they come, enjoy the process and please dont worry about the outcome, whether we succeed or not should not be of any consicuence, but the fact that one tried is important and one tried and enjoyed it is the most important. Please cheer up… you wrote ‘There are some Facts that we can’t change no matter how hard…’ Florence we can change many things in our lives, but it is just that do we have the courage to change them? Change requires action and courage and a large amount of openess and acceptance…of our ownselves and others as well. So have faith, whatever is troubling you will get sorted out.. dont worry about the outcome…
I am not going to write on further on what i wrote anymore, but there is a time to think, a time to ponder a time to act and make a decesion. And sometimes too much thinking and no action is not very constructive either. Sometimes too much thinking is also an escape from taking action. It is like almost like writing about the nuances of drawing and then analysing it again and again and again and not picking up a pen and putting a mark on paper. Sorry to say but i feel you have been doing this for a long time. Instead of realling listening to what Breda is saying you are just finding an alternate arguement, why not ponder over what she is saying and think about that instead of thinking about nuanaces of language.. she may have a point there.. and you may take that forward into your own work and then see how that is or is not helpful to you.The choice still rests in your hand. But you need to now give a clear cut idea of your projec. It seems you are interested in using language in your work but then what next after that. There are only 13 days left and nothing conrete has come out as yet. Florence too has explicitly stated as to what she wants to do… can we have something from you as well.
Sorry for being forthright, but I think we need to come to some decesions about our projects together, else it will be better to apply on our own.
It s nice to read from you again Florence.
I understand what you mean.
All will be okay.
have a nice today.
I have been ‘out of myself’ for the past days – this explains why I have not been present ‘here’. Maybe I got lost in my thoughts – thinking too much about our agreed concept of NEW PLACE and what is important in relation to the specific idea to pursue. WHO determines, or decides WHAT is Important to make, for WHOM & WHY are critical Questions when one is developing project ideas. I have been dreaming a lot about writing Exams and being in some kind of competitive sports -manifestations of anxieties about this project? Hmm; who knows? WHAT should I say? HOW should I say it? Will the idea be good enough? Does it matter if I don’t succeed? Of Course! Yes! No! There are some Facts that we can’t change no matter how hard we try to play with words, analyse words, or say that the meaning of certain words could be subjective, and so on. Good. Evil. Small. Large. Clean. Dirty. East. West. North. South. Black. White. Water. Flower. Girl. Boy. Tree. House.
I will be back tomorrow with something more concrete about developments on my proposal for our concept of NEW PLACE.
‘what are we to do if want to avoid illustrating concepts or stating the obvious?‘
I love your question Breda.
I think we can do nothing to prevent this to happen.Ever since we ve acceded language things are and well never be the same.
When we were kids we used bits of sounds to say I m happy or I m not .We grow , we grow we begin to coo, them to point.Yes after we talk , we produce speech.I don t think we talk about things we re ingnorant of that is why we believe in what we say.Though at times what we say , think or feel might have nothing to do with reality.We have to tend to it , I think so strongly.
So Breda I think Saussure made things clear .The signified is an acoustic image.Of What? The concept , the sign. We have to represent ourselves our world inorder to maniplulate it. Perhaps to understand it as well. Yes not perhaps , to understand it as well. Red is red because it s been made so. It s not obvious .I d love to think so
I don t believe that things are obvious they are just the way they re.Theories and principles make them to be so. The moon cloud not be shapped like a square , if it were , nothing of what we know now would be .
I acknowledge that our brains have helped us veil part of reality and this certainly for our sake.Yet what is hidden at times after what is not has been unwrapped , needs to be known.Bindu how should we think if we don t keep adding to our thoughts other thoughts.The laws ofb the mind have no limits a priori and stricto largo. Are we the ones that made this so? It does not need to conflict with our sensations, our feelings.This being, this lacher prise is inherent to the sentiment of being human.
At times , I don t want to feel nor to think , I want to move in the water and let it drift me to where it wishes.Yet , It moves downstream the water.In which way do I want to more? My life instinct talk , I become just a bunch of cells.A bunch of living cells
I want to sleep… but I have a feeling.
why her not him?. why him?
All will be okay Bindu, all will be okay .I m happy your toothe aches are gone.
I’ll chase Monica… meanwhile, be good if you could think about how the ‘embroidery & memory’ projects relates to NOW
where is Monica now?
I’ve been thinking about historical memory and the way to use embroidery as a way of keeping this memory. Please Monica say something…
I have talked to women who work with other women in war, in Barranca and I think I would love to work with them, they have a very “nice” and interesting story to tell about how historical memory.
What do you think???
confined in my research
Susan Faludi: “everything that’s been said about feminism is not what it is – it’s to me about… retrieving your whole self, and I think it applies to MEN as well as WOMEN – feminism is about being a full human being, being a grownup, and having not only attention, but authority, agency, and… being a full enough person of having a full responsibility and engagement in a larger world.” extract from:
for a western women God plays aesthetical role.From my life experience I have learned that for non western women G-d is an attribute of morality. I’d love to discuss this issue when working on my project. this is why I brought into discussion the book ‘does G-d hate women’…
“Muslim women, women from post soviet block and middle east are perceived to have predominantly traditional self-identities and social roll”
“Ophelia… was brought up as a catholic, eternal bride and a great sinner according to Church she committed suicide being pregnant…”
consequently, Ophelia represents Muslim women & women from post-soviet block (and NOT women in ‘Western’ society)
It’s a known fact that Muslim women, women from post soviet block and middle east are perceived to have predominantly traditional self-identities and social roles and thus are believed to be less adept to adjust to modern societies.
The truth is, immigrant women’s experiences in general and Muslim women’s experiences as immigrants in particular are quite diverse and complex. Within today’s increasingly globalizing world, more and more Muslim women and others find themselves in modern or modernizing situations and are able to successfully adjust their traditional selves to fit the needs of a modern lifestyle. I want my heroines look through Ophelia’s life who was brought up as a catholic, eternal bride and a great sinner according to Church she committed suicide being pregnant…
the text you supplied a link for centers on religion as a bastion of patriarchal power, and references Catholic clergy (in Chile), and some Islamic countries – how is this relevant to the roll of women in the ‘Western’ society (especially in the UK)?
Wikipidia on gender – yep, we are aware that, amongst other concepts, gender roll is a theoretical construct; and that contemporary psychoanalysis claims that we are all bisexual because we all had a mother and a father.
A gender role is a theoretical construct in the social sciences and humanities that refers to a set of social and behavioral norms that, within a specific culture, are widely considered to be socially appropriate for individuals of a specific gender. Proponents of gender role theory assert that observed gender differences in behavior and personality characteristics are, at least in part, socially constructed, and therefore, the product of socialization experiences; this contrasts with other models of gender that assert that gender differences are “essential” to biological sex. Research supports this theory, finding gender differences in almost all societies, but with differences in the norms adopted, suggesting that gender differences are, at least partly, influenced by culture.
Gender has several valid definitions but it here refers to an individual’s inner sex or psychological sense of being a male or female irrespective of one’s (outer) sex identity as determined by one’s sexual organs. There are two main genders: masculine (male), or feminine (female).
Gender identity refers to the options available to members of a society to choose from a set of social identities, based on the combination of one’s sex identity on the one hand, and one’s natural gender, interests and social experiences on the other. Some ancient tribes have more than five human genders. Most non-Western societies have three human genders — man, woman and third gender. In the West, gender is considered to be an invalid concept, and is considered to be the same as one’s sex identity, for which there are considered only two valid options — male or female. Any gender variation from one’s sex identity is treated in the West as a disease or abnormality to be corrected.
Gender roles refers to the set of attitudes and behaviors socially expected from the members of a particular gender identity. Gender roles, unlike natural human genders, are socially constructed. They may reflect natural gender aspirations of the members of that gender identity, or they may be politicised and manipulated, which then result in the oppression of people.
For a long time now, penetrative sex with women and reproduction within the marriage institution has been adjugded as the most basic criteria for granting manhood (gender identity for men) by most of the non-Western world. In the modern West, this essential requirement has been changed to a heterosexual desire, resulting in the Western concepts of ‘homosexual’ and ‘heterosexual,’ instead of the usual gender identities for males.
Hi Breda, i think i misunderstood your question from the begining.
When i re-read the question, i think i couldn`t give the answer, it is too difficult.
“to give my feel as a viewer of other people`s work in general, and to forget about my point of view as an artist.”
i took ozu as an example because several days ago i watched his movie : )
and i said about nanjing, because when i googleing ozu it jump out, and i think it is interesting to show the richness of an person.
as you see, all these happened just from the unexpected direction of your question, and when i reply these to your question only for reply (although i am misunderstood) , they are nothing to do with my proposal of shape of soul.
‘I almost didn’t recognise you. I thought it was a Japanese woman who looks like you” ending ‘In the Mood for Love’ by Wong Kar-wai
iaa asked: “how do you feel as a viewer of other people’s work?”
from a pool of many international artists or filmmakers/directors, you referred ONLY to Tokyo Story, a feature by Ozu. why?
yes, there as many studies about Ozu’s work, and there are many references to the Nanjing massacre.
where are you in relation to all this really? searching for the shape of ‘the soul’ of plants, animals, and humans?
Hi Breda,,About the mediation on morality, i dont have special ideal about it and i never think about his film from this aspect, i like ozu`s film more from viewer than artistic study,and frankly speaking i am not interest in film study.
but as before i mentioned we can found out hundrends of study paper about ozu`s film. i repeat some fragments study from others : in his film ozu set the father as a god position, taking everything just smile/ never angry/ always merciful，
audience can from this view study the patriarchal social system in asia ,
you also can study the position of female in his film
in his film there is big part of morality concerning, but not much exist in his personal life, what a pity for a master.
still doesn’t answer the question how is Ozu’s mediation on morality integrated in his idiosyncratic cinematic language…
hi breda, so the question now return to a view of artist, about the camera position as you know we can easily found a lot of articles in internet, why low, because one: tatami , two: respect of people, three: the space of traditional japanese interior .
i found out ozu was a Canadum of Gas unit in japanese army in world war two, and he spread poison gas in Changjiang river in China。
is a meditation on morality. what about Ozu’s cinematic style?
what do you think determines the camera position in Ozu’s films?
(why is the camera position low?)
Dramatic under peaceful surface, not solution gave by director.
Bad guy do bad things to good guy, bad guy doesn’t get any punishment，and good seems like he doesn’t know anything about he got hurt or cheat by bad guy. And they live together like used be.
All the punishment`s gave and hurt taking only happened in audience mind and body.
hi breda, When I first time saw your question? I am little bit confuse. It is wired for me, but if I ask why you ask me this question, it also very wired to you I thought.
I hope I didn’t give the image to other people that I am the person only care myself , only think my work is great.
Andrew, you say: “The product of my interaction with whoever or whatever I meet along my journey will constitute the art, any new discoveries I make will be art…”
what’s the budget for ‘the art product’ above?
does art happen because we say so, on command?
other international artists or filmmakers/directors in general (not imagine art after artists)
hi breda, other people`s work , you mean the old works of other people in the dialogue or the proposal of them?
On the industrious:
It must be noted and my conversations with my elderly grandmother confirm this, we are living in times were fewer and fewer people know the truth and indeed only a few if any know the language of the world. The realm of messages or signs from nature in christian Zimbabwe viewed by some as evil and the exists world wide a system of belief in constructs, money being the leading focus of belief followed by books……Few claim to know the truth and the majority of those have been called liars or crazy…… Likewise art and its purposes have been relegated to vanity through the media and the infiltration of money into its core. Art is becoming less and less spiritually significant and more and more financially significant. Art and archaic man are now completely disjointed. If the truth is what we seek, the chances of finding it on a financially significant canvas are non existent. After-all what truth exists in anything fashioned by the hands of man…does not all of it rot….even the flesh which makes all these things. Decay is all there is. Ay, in that view and with the knowledge that most of humanity’s creations come out of destruction and distraction I am seeking a new direction away from it all for as long as it takes for me to find the truth within and away from this vanity. I am off to the garden….to the truth and this time everything all the way to my soul is going to burn. The product of my interaction with whoever or whatever I meet along my journey will constitute the art, any new discoveries I make will be art, utility and necessity combined…. My chickens recently took to sleeping up a tree recently . 14 left for 2 weeks and came back only to be locked up never to be released until they make it to the pot and a hen after 3 weeks in the wild came back with 5 chicks…..I am off to find my chicks in the wilderness. As for the industrious, we are sure to meet and better yet, away from this vanity.
would it be possible to forget about your point of view as an artist for a moment? be great if you could let me know:
how do you feel as a viewer of other people’s work?
the question ‘Does God hate Women?’ implies that God exists, no?
“are all words nouns?” interesting question – what next, Didier?
also, what are we to do if want to avoid illustrating concepts or stating the obvious?
The section about my house maid was a background story to clarify where the inspiration for my 45min featurette, Complicated Complications was coming from. The network went down before l could include the synopsis in my first posting and my proposals are two and not three.
The first being ‘Complicated Complications’, the story about death and inheritance. The second proposal ‘What Lies Within’, a feature film based on my life.
The Directors l admire and my favorite films? Local or international? No, l haven’t seen the film, ‘The Silences of the Palace’. Will have to look for it and if l don’t find it here how possible is it for you to get it and send it to me?
It was mentioned that our postings should be shot so, let me send another one in response to the remaining questions.
Thus, I would like to stand up for Ophelia and get more specific avoiding speculations around my hypothesis about her being a best example of a ‘femme total’ or the best example of the Western Female Archetype to undertake. I would like to highlight Ophelia’s individuality, her being a fictional character, a potential wife that asks herself a lot questions. Her question ‘Does God hate Women?” brought about a vast discussion among academics and writers. Recently I consulted the British Library catalogue (became a member of BL) to be able to perform my further research.
I found several books confirming my thinking such as ‘Early Modern Tragedy gender and Performance’, ‘Contemporary Feminist Theatres’ by Goodman and many others. I would like to take some time to read and research. Will get back to you in a bit.
Question for Natalia (again) – how is Ophelia’s character relevant as a starting point for a discussion about the roll of women in the contemporary ‘western’ society’?
what sleeps in the rock,
dreams in a plant,
lives in an animal,
i like these sentence, and before i got suggestion that to read the poem of john donne, he also wrote a beautiful poem about soul,
when i making things, i always avoid myself to understand too much about my work. the process is like this: i got an idea, then i found a way to express it, and i try to maintain it in a level that i knew there is something behind it, but i dont want to know what exactly it is, i afraid to limit my work`s ablity of openness by my limit knowledge and limit experience.
so i always stay in an state of unclear mind, it seems like i have a child, if i want to know all the mind of him/her i can easily know, but i keep it in unknowing, so him/her has kind of mystery things that could attract me。
Levels of consumption.
YOU ! Introspection of the self by an other.
I made a mistake some will ago but it will be corrected. Perhaps not , as everything seems to be a construction.However, if one admits haven made a msitake things begin to change .I ve always found this great.
Do you see redness?.
Each bit of my development has been marked by particular experiences which questioned my human belongingness.
Each bit of experience no matter how minute it has been has made me to requestion my position in the world.My role . Existing has cesaed to be evident.Meaning has to be part of it.Yet I m not alone, we are not alone.We live with others , others like us in essence.Why then so much nuances ? How can one gain insight into it?
In this quests , I ve come to ask questions again about things like langauge which enable bits of us to access greater spheres of reality.Langauge enables one to break rules , to forge a singular reality.New words , new ways of using them , new ways of even seeing the world just with Language. Reality becomes paradoxically conceptual.
At times we communicate not to make sense but just to communicate.However , via language we percieve the world . The presense of the other becomes more important than ours then.
Lovingly , all these words ; even the one i m using are just concepts. So is language void sense ? Something quasi immaterial but which enables us to act unto ourselves and unto others .The act of speaking is just as fundamental as the act of writting.The act of communicating , metacommunicating.In which world are we living in? a mechanical world or it s opposite?- It could be anything but more human, perhaps
The self finally becomes a greater sphere which encompasses all of these, and extends our umwelten.
In my New quest , well in this intimate search for unity I ask wether the other is not in fact so much us .Like living mirrors, aspects of us we do not want to know, aspects of us whom are new to us could be united via the mind use of language and concepts.
I would love to believe that The world is a lovely one , it is , it is ; but as well things don ‘t seem to be the way they re.
It is in this evidence -we all know- . I m constructing.
What is evident is a lure. Are all words nouns? How does it feel like to be another?.Which objects do we desire?
we are not sure – are we talking about three proposals:
1. no title featurette about a housemaid, duration 45min
2. ‘Complicated Complications’, film about death and inheritance, duration?
3. ‘What Lies Within’, a feature film based on your own life
as for the question from previous post “why is it film and not a book?”, it would be great if you could tell us:
- are there any directors whose work you respect?
- what are some of your favourite films?
- what’s your cinematic style?
are you familiar with ‘The Silences of the Palace’? a feature by written & directed by Moufida Tlatli in 1994 (the film is about a young woman who returns to her place of birth – a prince’s palace – in which her mother worked as kitchen hand and mistress)
not sure how we got from crematoriums, smoke and glass to plants, animals and human beings… are you familiar with this:
“what sleeps in the rock,
dreams in a plant,
lives in an animal,
and becomes conscious in a human being
Thanks Breda about the footage : )
i think about the shape of soul in three, one is from human, one from animal, one from plant, but maybe it is too statement alike, too directly, too flat, seems like i try to saling the philosophy about ：equalitarian idea
the iaa team is at it too (+ bit tired) – as for the london sunshine, we know cos we’re throwing glances towards a large window
research & development workin’?
I really like to change the title into “Run Away with Ophelia”. Its brilliant! Thanks you Breda. Going to write you about (II) project in progress Shlyager Stars…
and sunshine in london today…
need to get some freash air. going for a walk, but will be back in discussion later on. I remember about your question, Breda.
Question for Natalia (again) – how is Ophelia’s character relevant as a starting point for a discussion about the roll of women in the contemporary ‘western’ society’?
Need some time to write you back, its a long one.
if the dynamic between the question and the answer perpetuates some kind of a contradiction)
Yes, of cause. This time I like to be a mediator. Substituting Ophelia can be a project itself. Should offer this form to the immi girls. I love it!
P.S. just realized I was writing my comments on comment box and not posting them
I read something about making documentaries of all participating artists’ work and the way they live as part of the Imagine Art After project. My feature film, What Lies Within is a story about my life and l figured it would also be appropriate to submit the script.
I know shooting a feature film is expensive but it is possible with multiple funders. I’m currently looking for more financiers for the film and this project can also help with the process.
Work of art is in the questions one asks with that work…
FurBall is a single screen video
Everything else i said was in relation to the II project of Revisiting Personal Memory
(II) Why an environment for a gallery space, because i want the viewer to be able to experience it all at once, in a dark space, inside a story, that possibly never existed, inside a fake “randomish” personal narrative. Online, its only 15 inch screen, there is no immersion, no sense of time, there is a choice what to see/when in the real space you see all at once…
I was referring to the point of view and perception of the audience, that will be in the real space surrounded by slide projections and different “altered memory” videos, played all at once…
unity of form and content?
The proposal is indeed a 45min featurette and it’s title is as of above. Why is it a film and not a written story? I’m a film maker and my passion lies in the screen rather than books although am currently working on the first draft of my first novel based on my life, titled after my feature film script, What Lies Within.
I was hoping the project will also help with distribution. I do have a few connections with Producers in other countries and television stations. l intend to also send it to short film festivals.
My audience? Anybody fascinated by African stories and culture including those looking for pure entertainment. Below is the short synopsis of the story.
Complicated Complications is a story about death and inheritance. Two 16 year old Tonga boys, Mahuke and Mphembe are surviving sons born of competing women married to the same man. Their older brother has just died and left behind his 30 year old widow, 4 young children and many cattle.
The two brothers’ fight for the prize further divides the family as their mothers join the race to win the trophy.
Breda, Im not saying its irrelevant, im saying that the character can be almost anyone/with relative depth of course. What im saying is that Ophelia is secondary and i would not think differently about the project if it was any other deep female character with history…What im trying to do is ask: where is the work of art? in the character that Natalia has chosen? In the artist herself? In 6 females? In the fact that she gains a dominant position of an educator? In the works they produce? In the fact that she almost erases her artist-self from the show? In the dialogues they have? In the way those 6 females will carry on with their lives after the project will be finished? May be it is all of it, but i think that the choice of Ophelia means less then all the other things i have mentioned…
who is the mediator? im trying to swap places envisioning Ophelia and Natalia as mediators at different times, and i cant answer…Natalia? Ophelia? Mediator of what…
Thank you for Afterlife reference (just great! surfing through torrents now) and what you said…im still thinking about why you posted ‘I Like America and America Likes Me’…
if FurBall is a single-screen video, then all events take place one after another within a single ‘cinematic’ frame. consequently, how do you anticipate that it will be possible for the viewer to experience: “it all at once” and chose “what to see, and when”. Also, not sure what this means “in the real space you see all at once” – are you referring to the general low of perception? are you referring to the concept of a point of view? if so, whose point of view is it? the artist’s? the viewer’s?
if I understand well – you are saying that Ophelia’s character is irrelevant for the project ‘Revisiting Ophelia’?
if so, why not revisit Angelina Jolie? or even James Bond?
Who is the mediator – Ophelia’s character, or the artist herself who should be embarking on the multi-stage project together with 6 other participants?
I’ve just posted ‘After Life’ link – a range of characters with their subjectivity, experiences, (learning process)… and yes – a production of a piece of work together with cast & crew.
Breda, because the project is not invested with Ophelia character, it is invested with 6 women characters with their subjectivity/experiences/research,learning and dialogue skills. As Natalia said “In order to discuss somebodies life you need to discuss and understand your own”. The mediator or character can be anyone …Sonya from Crime and Punishment by Dostoevsky, anyone…thats why i think it has nothing to do with Ophelia.
a film by Hirakazu Koreeda
brief synopsis: After people die, they spend a week with counsellors, also dead, who help them pick ONE MEMORY, THE ONLY MEMORY they can take to eternity. They describe the memory to the staff who work with a crew to film it and screen it at week’s end; eternity follows.
FurBall(I) is intended like a single-screen video. (II) Why an environment for a gallery space, because i want the viewer to be able to experience it all at once, in a dark space, inside a story, that possibly never existed, inside a fake “randomish” personal narrative. Online, its only 15 inch screen, there is no immersion, no sense of time, there is a choice what to see/when in the real space you see all at once…
In regards to your second paragraph…i know that i have to define the characters the story the story time vs video, but i dont know how, where to start, because it is all half-baked and i have no answer to why my story is different… i go away to turn the oven on…
for yet another journey that is at once invisible & visible; internal & external; personal & political; contemporary & historical:
‘I Like America and America Likes Me’ performance by Joseph Beuys
In May 1974 Beuys flew to New York, and was taken in a veiled ambulance to the site of the performance, a room in the René Block Gallery on East Broadway where he shared this room with a wild coyote, for eight hours over three days. At times he stood, wrapped in a thick, grey blanket of felt, leaning on a large shepherd’s staff. At times he lay on the straw, at times he watched the coyote as the coyote watched him and cautiously circled the man, or shredded the blanket to pieces, and at times he engaged in symbolic gestures, such as striking a large triangle or tossing his leather gloves to the animal; the performance continuously shifted between elements that were required by the realities of the situation, and elements that had purely symbolic character. At the end of the three days, Beuys hugged the coyote that had grown quite tolerant of him, and was taken to the airport. Again he rode in a veiled ambulance, leaving America without having set foot on its ground.
“I wanted to isolate myself, insulate myself, see nothing of America other than the coyote.” J. Beuys
for some extracts from the performance visit:
It’s the easiest way to remodel my present, Eline, to remodel and extend my existence, like leaving passport photos of yourself behind couches, under carpets, under the seats on the airplanes, in the hotels and cafes you visit. To imitate a memory i don’t want to forget and to make the one i craved for real, now that i say it, it all sounds like therapy, which is a bad thing. It all has to do with a fact that i remember things differently than other ppl in that same situation. In a way it is a licence for a lived experience, justification, video as a proof of fiction and reality, justification for my memory. Its a way of capturing those memory flashes that one gets-capturing and adding to them. I remember a voice, an image, or a detail, a short frame, i want to build a video sculpture around those fragmented memories…add plaster of imaginary to a fragment of real.
I care about the fact that i see it as a mix or “real” and “fictional”, for audience it can be all fiction…this part is a bit blurry in my concept…what if its a completely imaginary archive? what if i never belonged to a family, a culture i claim i belong? im not sure myself how should i do it…i do not have a definite answer yet…
I have caught up with your dialogue and im interested in what you are talking about, but i think it is different. Because you are talking about virtually fulfilling your mothers dreams, you are talking about altering reality, where im thinking of altering the past… If its any help there are three projects i have seen so far that come to my mind immeadiatly, Emily Jacir (Palestine) Where We Come From (2001-2003) Jacir, holder of an American passport, asked more than 30 Palestinians living both abroad and within the occupied territories: “If I could do anything for you, anywhere in Palestine, what would it be?” She collected responses and carried out tasks in an extended performance of wish fulfilment by proxy… Or Mona Hatoum, Measures of Distance 1988 in relation to a dialogue with your mother.. And the third thing…i can not remember the name or if it was even an artist who did that…the way i remember it was a philosopher/writer he locked himself in his room for an experiment, he claimed that he can make a journey to (i think London) without leaving his room. He surrounded himself with images of the city, videos, sounds of train moving and stayed locked in for 2 days, some ppl claimed that they saw him in London during these 2 days…
what do you think of these works?
I dont think there is any way to merge our altered memory works, but discussing them further and helping each other develop would be good?
the iaa team is aware that the ‘Revisiting Ophelia’ project is ‘older’ than 22 Nov 2009, our dialogue start date (pls refer to R&D stage guidelines).
Question for Natalia (again) – how is Ophelia’s character relevant as a starting point for a discussion about the roll of women in the contemporary ‘western’ society’?
Question for Taus – regardless of its ‘educational’ streak, how can a project that is invested with Ophelia’s character have nothing to do with Ophelia?
Taus, giving you a short answer. Still dealing with my Internet connection at home
you asked me – what do you see as the end product?
I was going to show a video documentation of the the work we have done together presented on 6 screens, our dialogues, collection of the working material and as a main body of the exhibition the final product, an art piece that each girl will make. Art work will be dedicated to Ophelia, therefore will give her presents in the project. Their work will be based on researching her life. As you know Ophelia was Hamlet’s great love but she had her own story. Her childhood, her being brought up as a prostitute, her education, her ideals, her madness and many more. The fact that her character will be discussed by 6 immigrant girls will give to the project a multi dimension. In order to discuss somebodies life you need to discuss and understand your own. don’t you think? this will be tough but interesting. natalia
Will you be showing works by the 6 participants? Or your own documentation and description of the process? For me this work is about passing on the skill, the research skill, I like it, but I feel that it has nothing to do with Ophelia…what do you think?
a woman sited?
I’ve been reading Todorov this last days. “Abuses of memory” and something like “the displaced man” (“El hombre desplazado”, but I wouldn´t know the exact name in English). So, about historical memory: I would like to say something about it, based on my readings on Todorov:
Historical memory “serves” for
-the recovery of dignity
-new meanings/ (resignificación)
-turn the past into a principle of actin for the present
And one of the things he states, that is for me the most interesting one, is How to use memory, reminiscence: Literally or exemplary. In which he indicates how when you use memory this way is intransitive, leading nowhere, submitting the present into the past, as a way of keeping yourself closed or trapped in the past. Is the “why?”
the other way of reminiscence he states is the exemplary, in which you use what happen as a way of understanding, taking a lesson out of what happened, it helps neutralize the pain, in order to use it as a principle of action for the present, movement, transition…
So, I am reading all this to state what place to take as an artist, what attitude is the adequate, because I am no life saver or hero, I just want ot open a space and provoque or arouse to an experience, a creative experience….
Making a big fabric with these women and embroidering our own personal maps of the roads we had walk…and making sucha experience as a place of reflection, and as Todorov says, making the past as a principle of action for the present…
a question in relation to both projects: why a three-dimensional ‘narrative’ for a gallery space instead of a single screen film/video for festival and cinema distribution? furthermore, if it’s supposed to be a ‘randomish’ scroll through objects, characters, various aspects of time – why not an online project?
whichever, it seems that you have to find (I) your own character as well as the characters for both projects; (II) the ‘story’ (memory and family/ancestors is not enough – it has been done many, many times before – what makes your ‘story’ different/new? ); and (III) the ‘story’ time vs the film/video time.
crematoriums, smoke, and… glass – sounds promising.
film & literature research references:
‘Night and Fog’ by Alain Resnais (one of the best documentaries ever made)
“Have you noticed that Amsterdam’s concentric canals resemble the circles of hell?” from ‘The Fall’, a book by Albert Camus
what’s in it for the audience, or rather what’s in it for you? what does re-staging the past say about the current Taus?
i will study about two crematories in amsterdam, one is for animal one for human.
the idea is leading the smoke of cinerator to glass making, but only let the smoke meet the hot glass ,happening automaticly……….
many problems: get the aggreement from people, and construction in the crematory,
the result maybe including sound , sculpture , picture and videos, so it would be an installation view
Hello Ana, Breda, Natalia!
Natalia good to have you back! About your proposal/what do you see as the end product? Will you be showing works by the 6 participants? Or your own documentation and description of the process? For me this work is about passing on the skill, the research skill, I like it, but I feel that it has nothing to do with Ophelia…what do you think?
I do not have a finished proposal to present, but I have a couple ideas I want to throw into the conversation. Things that’s been on my mind.
I guess the first idea is the FurBall video, the idea I have already posted. I have no narrative in my mind yet, but I have this furry object, and the image of smb rolling it, and I have one particular image from Shirin Neshat’s Tooba video in my head as well…I cant get rid of it…this crowd of man in black…the tree…the female that becomes part of the tree here and here
And I feel that I want more people involved in this video, people that live in the mountains during winter, those for whom the waterfall (in the furball photo) is home…that nature is real home…
I have been thinking about what I wrote here when I replied to a question what do I want? I want to do a big project on private history/memory/altered memory… I have already talked to some friends artist/curators about the idea and I think I can do a show out of it, may be in the beginning of summer or later. What I want to do is shoot videos of my memories, real and fictional. It will be like a home video archive that never existed about the events that happened and never happened… technically I would have to find girls of different ages that would look like me and film in different places like Tsada/Makhachkala/Moscow/Zheleznovodsk (it is like a kids health camp that I was sent to once a year, every year)…in the end I see several films (home-video style) and several slide projections around the space. Changing slides of different objects from my grandfather’s house and childhood photos-where I would photoshop myself into the images I was not meant to be in…
Im too captivated by the idea to see it from the outside, so please do give me your opinions/push me…the main question I guess is…what’s in it for the audience? The fact that you can remodel your childhood? The restaging of real memories in an attempt to keep smth?
Warmest regards from Coldest place,
P.S. Ana…I am patiently waiting for you )
Hi Didier and Florence,
I am working on another proposal will post online after a few days. Trying to formulate my thoughts as well as my language.
Hello Florence and Didier,
Sorry for not being in communication with both of u, have been having a toothache, dental problem which is driving me nuts. Anyhow today i decided i must sit down tooth or no tooth!!! but believe me I have been reading all yr mails and have enjoyed reading them thoroughly. Florence I am not sure how 8th March is like in India, since I left 3 years back but surely nothing like how u have described. But as far as the proposal is concerned i would like to talk about it in reference to my mother- a new place for her.
Partition of India saw a huge exodus of people across the 2 countries – India/Pakistan, one could call it as one of the largest political migrations in the world and one of the most violent as well.
The social, psychological and economic impact on the migrant families cannot be explained merely in words. Most of those who experienced the trauma refuse to talk about it. Both my parents experienced this very trauma, which has had a profound impact upon their perception of the world. Economic hardships, loss of home and family life created a desire in most migrant families to not only survive but to succeed at any cost. Leisure and relaxation was for old age. Long hours at work finally affected my father’s health and he has now been seriously ill for the past 26 yrs. The dream of living a leisurely life, of travelling around the world, seeing New Places came to naught. All that my father dreams of is getting well and all that my mother dreams of is to visit me in UK , which she cannot due to my fathers illness. Most of her time she spends in being engaged in social activities or just looking after my father. Years of sleepless nights have taken their toll.
For this project I would like to talk to my mother about her dreams/desire of a new place. Maybe this New Place is also a reflection of her deepest desire for a change in her current circumstances. To relive the dreams of her youth, dream of my father recovering completely, dreams of her travelling together with her husband.. her dream of visiting me in UK.
I would also like to go around UK, shooting different cities and projecting them back in real time/ or in a video format, for my mother to see. Probably in someways realizing her unfulfilled dreams.
This is a brief description of my project on New Place. Please let me know as to what u feel.
Hail tooth ache,
the proposal seems to be a featurette (small feature film whose duration is about 20–44min). what’s the title? why is this a film and not a written story? who’s your audience? how do you anticipate film’s distribution?
I have two options and I’m passionate about both. I have also written a short film [about 45mins] inspired by my former Tonga housemaid. She was a good story teller and although in her late 20′s, Smanga would summon my two youngest children who are now 12 and 13, for bed time stories almost every night.
She had married very early to an old poligamist. When her husband brought home a 4th wife, Smanga fled to the city and left behind 6 young children. She couldn’t cook a decent meal or clean the house very well but her personality is what got her the job. She played games with the children as if she was a child herself and at other times, her maturity and wisdom surprised me.
She was also a natural flirt and loved the attention she was getting from my lonely neighbour Ngwenyama, whose wife had joined most women who had abandoned their warm, marital beds for greener pastures in the UK. She told me Ngwenyama had promised to marry her and within a few months, Smanga was pregnant.
Her lover must have changed his mind as l woke up one early morning to find a bloody bathroom and no sign of Smanga. She had dumped the dead featus on her lover’s doorstep and fled. I never saw her again but this is a synopsis of a short film inpired by one of her stories.
Andrey Tarkovsky’s ‘Nostalgia’
if remove all the people of cairo in one moment, nobody will think cairo is a living city just seconds ago.
most of building are seems like underconstrction forever or be dismantled in halfway
in the cemetery ( al-Arafa), maybe we should give it another name, there no only dead people live there but also living people, and this is not only happened in rescent years but already exit hundreds or thousands years, the life mix the living and death, people sit upon the tomb as chair, dry they clothes and blanket on the tomb…….. just as the cairo city, cairo is a big al-Arafa, al-Arafa is a small cairo.
i like this idear of non－different
theory by Rupert Sheldrake, English scientist
Morphic Resonance and Morphic Fields
2008 my grandmother in my father side and my grandmother in my mother side gone one after another.
i was in the crematory of my maternal grandmother， we companied with her for the last length of trip， and then she was pushed in the metal container and feel the fire`s warm,
then i standed outside of the building, saw the smoke was lifting and scattering,
i was thinking about the shape of the soul if the soul really exit,
i want to believe that there is soul in the mankind`s body.
animation, embroidery, women, residence, portraits.
Let me elaborate on that. I have been very busy but things are starting to boil.
the concepts behind the documentary aside, what’s the cinematic point of view? and, what exactly will the viewer be looking at?
When I say industry, it not big business I’m refering to…..It’s more to do with the industrious nature of people I’ve met on my travels…One has to be these days given the economic climate….. and in this sea of constructs. A man and his chickens which he relies on for livelihood, the herdboy and his cattle in the forest for months, the street cobbler under the tree shade whom everybody takes their broken shoes to…the mother of 3 and her mangoes and mango trees…. the fisherman and his rod, the farmer and his soil. There are numerous exambles of very simple people living simple lives with the knowledge and understanding that all everyone is trying to do is survive at least until the next day….and the ritual of their day and it’s struggles take on an artistic form as if choreographed in many ways……..I hear also that relationships have developed between the most unsual suspects because of the economic climate and this is something many thought would never happen during the ‘good times’. Changing times have led to changes in the lives of many and changes in attitude towards many of lifes constructs…. but the basic struggle for survival has remained a common denominator….. To map the minute changes in life represented materially in the changes in material objects…..the holes developing in clothes, new patches and all other repairs to tools houses chicken runs, …..thats the idea to somehow capture in a single piece these minute changes in the rapidly changing life of……
70 meters long embroidered cloth — not an actual tapestry — which depicts the events leading up to the Norman conquest of England as well as the events of the invasion itself.
Hi Andrew, how was your val, have been quit very busy in the studio that I have to be alone for myself this period in other to meet up with some paintings. I wish its 48hours for a day. Haven’t heard from for a while now, hope u are aware of our next stage, what are you going to research about, gotten anything you want to developing on? its been quit busy with me in the studio, and in my quit time whenever i refrain from painting, my mind do flip through on what to do. We are both artist on a different perspective view to art but it all encompass visualization. Its always on my mind about documenting my imidiate original environment, and migrating to a new environment has established an awareness in me about the differences and similarity in difference between my origin and my new place. And I guess the similarities and differences can be visualize into paintings with my own artistic intuition. What am also thinking of developing is what I will call an audiovisual encounter. It has to do my kind of painting and also capturing the sounds of the environment. I have to device a mechanism like a sound sensor that will be attached to the painting. A kind of getting people immerse in the visual and sounds of the environment. These could go along making statement about people’s feeling through sounds as depicted to what is going on in the painting. Politically, socially and economically, our society has fallen short of its status compare to what is obtainable in the era of scientific and technological dispensation. The voice of the people is no longer heard, authorities are self-centered and egocentric. In essence my research could be like an encounter with the people’s feelings in sounds and visuals. What do you think about it?
How are you??
what are up to? what do you think about this next step!?
I am very excited!!! I have some ideas, they are still developing inside me…
I have an idea concerning various issues:
first one is embroidery as a way of leaving a memory, second is to create a “costurero” (sewing group?) with women who have directly suffer the consequences of war, and invite them to stay at the residence on Earth(where I will be finally living through out this year) for a period of time, like a week, and involve my work in the kitchen with them also… and Ask you if things come their way, if you will like to come and take part and document this experience…
This are my first thoughts for the project, I would really really like to know your opinion and your ideas!! For example wouldn’t it be nice if we collaborate with each others projects?? I would love to take part on your projects!!
Please tell me all your thoughts about all this and about your proposals!!
Dying of curiosity,
Hi Didier & Bindu,
Hi Bindu – what happened? You did say we should communicate at least every other day. Is everything ok?
Didier, it seems I just scratched the right spot; glad to know that you also enter the space of these lovely creatures on March 8th and find a way to navigate and connect with the ‘best creatures ever’ – your comment!!! Could this be a Place/Space in which you care to explore and share from your own very personal point of view? I would love to see how your impressions or expressions of the varied emotions take shape or find an everlasting space in your art – how can we remember some of these Passionate moment of exuberance through your art? It seems like I would have to rely on you this year (2010), to capture a slice of this special occasion for Womanhood. It does not have to be even for IAA, just do it! – for me, for them, for yourself – lose yourself in it, and in that process, capture something special that will live beyond you!!!
Warm greetings to you both – still wondering what 8th March is like in India/Delhi.
Is Bindu Well?
Warm greetings from Wales,
Flowers have a lot to teach us.Some smell good while others not.Some are colored while others are not.Some are not coloured and smell FABULOUSLY others are coloured and smell like hell.It s a mixture of a lot of sensations.Some are tiny others big.In this cocktail of sensations that titilate our senses resides a formidable thruth ; we re made to savour life .To exchange experience , to grow.
Women they re to me he loveliest thing That God could have granted as gift after life to man-that is with a phallus.
At times I wonder how it feels like to be a woman?
I never miss the match pass on the 8th here in my city.The air becomes stiffed with beauty, power and will .Colours and forms saturate the atmosphere and the least I can do is to smile to this human symphony.With their Kaba’s and their presence they rekindle aspects of me gone.So much encrusted in a culture which literaly prevents internal exploration of our bisexualities.
Astonished and fattened I remain always after such an experinece.No 8th March is the same.No single piece of moments shared in this body of sensuality, paradox, strengh and the unknown is the same.
It s lovely all these just like the flower that smells good or not, that is big or not.So many aspects of the same thing .It s a fantastic paradox but one I ll always love abundantly. To be different yet so much alike at the same time.
I m happy you exist my flower.-slowly said.
in relation to your desire “to say something about all this violence in a way in which you can transform pain…” check what Elia Suleiman, Palestinian writer/director says about the transformative power of cinema (link below). if you get a chance, see his film ‘Divine Intervention’
The Premise? Hmm – You like it Bindu? Well, where are you dear Mama Delhi?
Didier, I am not sure why you could not smell the beautiful flower – try closing your eyes; then inhale very hard; it’s in the air – I Can smell it!!! It’s all there – it’s great.
On the 8th of March, Women around the World will celebrate International Women’s Day. In Cameroon, this will be a National Public Holiday in honour of the Woman! On March 8th, Women will come out in their numbers to celebrate who they are, their strength, resilience, courage beauty and achievements and much more. For many Women, it’s one of the special days in their lives when they strongly believe that it’s Nice to be a Woman, rather than it’s Hard to be a Woman. There’s laughter in the air, there’s ‘sunshine’ and merriment, their voices can be heard; they will sing, they will dance, parade, drink, gossip, dress up in colourful clothes; men watch in amazement and envy! They too join in the celebrations. Women share, connect, network, perform, exchange stories, gossip again and again mostly about men even though men are watching (ha ha!) – don’t worry, I’m sensitive to how men feel at this time in Cameroon…
Some will walk tall and proud!!! Oh, and many will lose themselves in the activities of the day because this experience provides them with something New & Different –something that helps them to see their other ‘self’ which they will lose by the end of the day. But they will live in Hope and Anticipation for another 8th March where and when they will find another new space, and territory, new friendships and the time to be joyous again on such a large scale.
8th March is momentous in demonstrating a small part of their identity; even if it’s short-lived because by the next morning, it’s the dawn of a new reality where maybe the masks of day-to-day survival come on while they await another Women’s Day for those special moments that will come and go in a flash; moments that though flitting or brief clearly bring out another way of seeing women’s lives and experiences.
Well, dear New Friends Bindu & Didier – without wanting to completely turn the table upside down in our calm process of researching and developing ideas, this is a wonderful space to explore New Space – to see a small part of what makes some women ‘tick’. Some [Cameroonian] Women leave the UK to be part of these passionate moments of exuberance!
How is it in India, dear Bindu? And Didier, have you watched women on this day in Cameroon? I wish I could be there to capture those special passionate moments – I am a gleaner of all things bright and beautiful about women!!!
There’s just so much to say and do in the world through our various arts; how do we do it in our various ways?
Warm greetings as I prepare to settle down to watch a film, eat lots of pop corn and chocolate – decadence?
Hi Breda, Didier & Bindu,
We feel pain and face challenges in the process of learning, understanding, encountering others, and when we enter an unfamiliar territory; and there are many different unknown territories. This very open endless space provides a huge testing ground for our ‘other self’ that we may or may not know.
Most often, it’s in the process of losing aspects of ‘self’ that learning takes place – this awareness can only be a special moment for learning a little bit more about ones self.
Didier thanks for the lovely flower – a ray of hope and sunshine in this endless space that threatens what we think we know, and what we want to know and share in many ways. We may feel vulnerable, but it’s the brave little steps of courage that we take that matters the most. Like the delicate and fragile flower we set ourselves free and are exposed in this space.
I admire the courage of ‘others’ who know that they too must speak in order to be heard; and when they ask, “how do I look? Is my voice good enough? Is my blouse clean for your camera? Will people laugh at me when they see how I live?” – who they are, and their different outlook on the world matters to others beyond their own world – others who may choose to laugh, jeer or admire difference. They care about how others will perceive them, but they are brave enough to step out of their comfort zones into unfamiliar territory. I am trying to create a Podium, a Stage for others to share how we live. Not many people are fortunate to be asked to speak. I am hungry to know who others are, and how they deal with the many questions/issues/challenges that are universal.
you re insight is pretty Breda.Love is the key.
I thinkin calm now and I m doing what has to be done.
In time all will be ready.
Pardon me Dear Florence and Bindu for this time wasted as Loftus said I was “wrong” to think so candidly what I was thinking .
It is a lovely day here and it begings , this weekend with colours.
Thank you Breda your idea is a lovely tint to what has to emmerge. I love this – “whether or not our hearts are meant to be broken, the notion of the self is meant to be lost” (?).
I m still growing , I don t know yet I think it s only with time that the ripe gets ripe and tastes good.However, I guess we should not be afarid of loosing things that did never really belong to us.
I agree willfully to work with the proposition you Florence and Bindu have suggested.:).
Hope you re Doing well Bindu.
Have a nice day once again.
This is a mimosa pudica flower Florence.Its for you.
I ve tried to sniff it to see wether it has a smell or not but uptill today I ve not found one.i m stil trying.
It maps the reddish brown soils of most parts of Yaoundé now.
Please have a lovely day
or – just a suggestion of yet another be/longing – “whether or not our hearts are meant to be broken, the notion of the self is meant to be lost” (?)
Yes, Breda, your question provides yet another view, another perspective, another interpretation of how we can look at the concept of NEW PLACE – thank you.
For anyone who has been lucky to fall in love, the “face” or the Person he/she has “met” provides a NEW WORLD, a NEW SPACE, NEW HOPE, NEW FEELINGS & EMOTIONS, NEW BEGINNING – in this process, this person we are “falling in love” with is not only physically NEW to our lives, but ‘renews’ us in many different ways; mentally, physically, and emotionally. so in may ways, that person we are falling in love with can be seen as a NEW PLACE/SPACE.
Yes, a New Face, brings a New Life and a New way of Seeing your Old Self. And if we are lucky in love, you could be in a New Place for a long time!!!
“Falling in love” is a new Private experience that can enable us to discover something new and different about who we are; qualities we did not know we have.
A New (personal) encounter changes us and changes our outlook in many different ways. I believe that when we meet new people, we are drawn or introduced to new things through their different world. We tend to learn new things about their lives, their experiences, and we get to know a new set of people and their values, and maybe a basis for how we will go on to redefine and express ourselves anew. New identity formation and constructions are inevitable in this New Place of LOVE.
As a filmmaker, my curiosity would be to explore how all these would manifest in visual representations – Private V Public?
Thanks Breda for another refreshing way that we can explore New Place.
can a ‘new place’ be a face of someone we just met? someone we are falling in love with?
Andrew, why are YOU interested in industry in Zimbabwe? what’s point of view of the documentary?
why revisit a tragic female character as the main point of reference in a discussion about the role of women in Western society?
I’m sure you are aware of ‘Languages of Theatres Shaped by Women’, book by Jane De Gay and Lizbet Goodman (references to Ophelia in ‘I, Hamlet’, performance by Jane Prendergast)
Just for info – this was on at the Linbury Studio Theatre from 3-6 Feb: ‘Dalston Songs’, a song theatre by Helen Chadwick inspired by the stories and memories of people in her local community in Dalston, East London, where many different cultures co-exist.
It would be great if you can decide how you want to approach NEW PLACE – I have already shared with you and Bindu how I want to approach NEW PLACE. I have expressed and defined what I want to do in the context of NEW PLACE, which is only a concept or a general theme.
You are in Cameroon – I suggest you interpret or work out your own definition for yourself – the way you define NEW PLACE does not have to be similar to my own definition or to Bindu’s. We don’t have to fit into one little hole – where is the beauty of difference?
You said: “I have a myriad ideas of NEW PLACE in my mind. It s so many each day I just dream of an old place ” – this is good, choose one of the ideas, and then get on with developing it. If you decide to “dream of an old place…”, it’s up to you. But I suggest it’s better to Act, rather than be in a state of playful dreaming – it will be much easier because we have a task at hand.
Just define NEW PLACE the way you want – then move on to determine/decide how you will use photography, etc, to express (whether it’s through Objects, People, or whatever you want) – if you want to “include the effect de suprise part of NEW PLACE” it’s up to you – this will be how you have chosen to interpret the theme.
But remember that NEW PLACE does not have to be about YOU personally, the artist at all.
Didier, you said: “The Newness dear Ladies, dear women reside in innovating.” If this is how you choose to define or interpret NEW PLACE, this is great.
Please Note: Our 3 perspectives and definitions of NEW PLACE and how we explore the theme don’t have to do the same thing, or do not have to fit – No, we should not work towards making our perspectives fit. Why should our perceptions fit?
Bindu suggested that we should each explore our different perceptions of NEW PLACE – this is why I agreed to the whole idea. This is what makes it attractive for me. So if you want our ideas to fit, then it’s problematic, and rather than going round and round in a circle, maybe we could stop!
A joint project does not necessary mean that we have to be in the same place or produce work that is similar. As already said in many different ways, NEW PLACE is our common theme. You as an artist should find your own way to explore this theme. Please Didier, if you find this hard to comprehend, then STOP, and then you can research and develop your own personal project with a subject matter or theme that you want, and then submit an Individual Proposal when the time comes.
I have already made it clear what I would like to do within the wider context of NEW PLACE. If this does not sound “innovative” then too bad. Innovation in art can also be about hearing New Voices, Seeing familiar stereotypes in New ways. Some people have not Spoken; others have not been Seen – and they are many ways of seeing!!!!
Good Morning Florence,
I m glad to have read from you .I pressume you re doing well.
I m doing well, very well.It is a hot day here but it gives me wings.
It s a big thrill to be in here again and it”s just too fantastic how communiaction can be.
I appreciate Florence your insights into human properties and their influence it has on our work/mental production. Being human is however to my view point the best thing though ; that could ever happen to us.
However, I seem still not to be understood.
My aim of wanting us to discuss is legitimate and my intentions of wanting we have an operational definition for the THeme NEw Place is scientifical.
I perfectly agree with us having to work in our ways , in the manner we percieve what a New Place is both to/for us and others Florence you pointed this fact-Maybe what would ‘not be Common’ would be our method or form for exploring the theme.
.This is what makes our differences.However if it s a joint project – that is we propose three different perceptions of the same concept- I believe there should be something common in our work in all cases. NEW PLACE is a concept and thus it is general.I have a myriad ideas of NEW PLACE in my mind.It s so many each day I just dream of an old place . That is why to avoid been comfronted in trying to use several manners to approach this problem, I want to focalise myself just on one defintion.Don t you see it will be much easier.
If Dear Florence and Bindu we can define A NEW PLACE that is find to it a common denominator to our different perceptions of it , then all will be okay.
The issue of Identity, Culture is quite interesting but it is limitating . I suggest we include the effect de suprise part of NEW PlACE. I see it like if someone would for example Florence or you Bindu see your work they ll feel It s a NEW PlACE .Our brains hate what is new , we feel almost always comfortable with same cognitive maps.Talking about what people don t talk is new.Showing it in arts is new. Showing it in our specific ways in delicate subtilities is new.
A NEW PLACE is a sign , a symbol which makes my brain think of the word New and Place. NEW PlACE is also a concept.You See Ladies there are so many ways of seeing this thing.If our definition does not fit our different perceptions how can we work.?
I m sorry if I sound/look too sturborn It ‘s just that I find this issue very interesting and I d like we do somethng good please.I know you too have teh same feeling.
I ll agree democratically to keep developing my way of seeing New Place in the realm of the already stated definition but I wanted to share with you my worries of working without thinking of a method which we can use differently quite alright but arrive to what is intended .It will be like a sort of a sceince of arts.Will it not be beautiful.
See Dear Bindu and Florence. If I use photography specifically, you Bindu Your Technique, and you Florence your own specific techniques. That is our own methods belonging to our specific domains of action, in what way will this be innovating.
The issue of newness if I m not wrong resides in doing or coming into contact with things which we ve not been in contact with. Even though logically speaking the notion of newness is absurd.It s not the problem here.
See Ladies I have such a passion for this Project , I find it just too nice.
I ve never held a paint brush or any specific tool pertaining to the paintings .I have never help a good Video camera to say what I want to say.This is new to me.This could be an example of my NEW PLACE. it s an experience something I live then share with others irrespective of their culture.
I want just like you to move on but we should rather move slowly and well than move on when the format of our work is “not good”.
I feel totally comfortable with using any technique which is not mine to do what I imagine of as a NEW PLACE.
I began with texts, I sent one yesterday. what did you think of it? can it help us move?
The Newnes dear Ladies , dear women resides in innovating.
Sincerely this Project is just too cool .I ve never learned so creatively.It s just the begin.
Lets be a little bit more patient please.Lets say that by the end of next week lastest,we should have a definition which suits us all and on which we can work differently.This is our link in the different.Bindu I really loved this thought you pointed out. If we don t democracy will preveal.
I imagine art after this way. A New Place.
However, as Elizabeth Loftus says it is horrble to realize that what we think firmly as been true is indeed nothing at all.That is why I ll move on with your lovely ideas – indeed- even if you still do not savvy me.:).
Please have a lovely day.
Didier de Masso.
Hello Bindu & Didier
Desire, Action, Will, Choices, Options, Time, Patience, Ideas, Creative energy and so on – we have all these. Let’s just do it
Bindu just posted this today 10th:
“Time is short we need to communicate more often, everyday, or alternate- applicable to all of us.”
I agree with this, and I am sorry that today is 10th February and the last time I posted a message was on February 8th. On this point, I had written quite a lot, and responded to Bindu’s suggestions, while sharing details about how I saw “the way forward” her suggestion. I believe that we had spent a long time having positive discussions about our theme of NEW PLACE.
I strongly believe that through our many communications, we have had many Actions and Reactions that have generated positive discussions around and about our theme of NEW PLACE. Some how, some of our recent communications felt like we were almost starting again from scratch to begin ‘discussing’ – I felt we had at least agreed on how to approach NEW PLACE.
With regards to our ‘General’ theme of New Place, I am very delighted that Bindu had suggested (sometime ago) that 3 of us could develop something around this theme. When I look back at some of our discussions/communications, I can see clearly that we had spent a lot of ‘Productive’ time discussing, defining and sharing our ideas about NEW PLACE. We also spent some time talking about the MASKS we choose to wear at various times and so on. For me, these discussions helped me a lot with how I wanted to approach or formulate a way of exploring our chosen theme of New Place.
It was very wonderful again when Bindu asked, “Can our work not be about our 3 different perceptions of a New Place?” – for me, this was a solution to how we could work on this theme and I agreed and said so quickly – Again, I was very pleased about this and I did write about some of my ideas and brief indications of how I would like to approach the theme of New Place. And I think that we have variously shared our views and definitions of NEW PLACE in some of our dialogues.
Actually, I am comfortable with the idea of 3 of us individually finding ways to interpret or define how we perceive NEW PLACE. So I was surprised when Didier said (direct quote) “In the unavalailability of an operation definition of New Place, I thus in order to work had to conceive my own defintion.” I was not expecting that a definition will come from someone – the idea/theme was open for interpretation, as we wanted…
Maybe I got the wrong impression, but I genuinely felt that we had agreed on approaching the theme of NEW PLACE in the way Bindu had suggested (great idea!). This is why I shared my ideas on the 7th of February as repeated here: “About our NEW PLACE project – my take on this would be issues around Identity & Belonging for a person in the Diaspora. How one constructs ‘identities’, (even though these could be unstable or changing from time to time), and how one feels & negotiates a sense of ‘belonging’. How does one locate the ‘self’ between two worlds? Is there a sense of being in a state of constant flux when a person tries to navigate between the worlds of origin and the adoptive country? Are we (people in the Diaspora) constantly reproducing ourselves anew when we move between the two very separate cultural spaces? Do we find that we are always in a New Place because of shifting and changing our positions – both mentally and physically? These are some of the questions and issues I would like to explore with this project; and I am interested to see how these would manifest in visual representations. I had indicated in my previous communication that, I would attempt to explore these ideas/issues through other people.”
On the 8th of February, I said, “I have to work out quickly if the people I look for should be first or second Diaspora generation, or a mixture (that is one of each?)…” – I was trying to share with you both an aspect of my research strategy; it was not a sign that I was in a hurry – I am sorry if it came across like this. I am just very conscious of the fact that this is the period of researching and developing our ideas – I was merely being realistic, and acting according to the Time we have. We have a period dedicated our research & development of ideas before we submit our proposals – these processes take time. My time, (like all/most of us), is not solely devoted to IAA project. My research will require a certain amount of traveling to search/look for the appropriate participant (s) out there in the real world.
On the 3rd of February, I wrote “When we started this discussion about a collaborative project, I said that I am curious to explore the idea of NEW PLACE by looking at how others deal with the challenges or questions of ‘belonging’ and a state of being in-between two worlds that are in essence ‘New Places’ of sorts.
On the question of form, I would like to express my desire to use both still and moving images to explore the notion of NEW PLACE. I am thinking about a very short visual piece that would use Montage, Split screen and other filmic elements to communicate ideas, feelings and the meaning of a New Place for particular persons (x 2) at a particular locale in time.”
I assumed that because I had expressed all the above, I had communicated how I wanted to approach the theme of New Place.
Again, I had assumed that we were going to individually produce separate pieces of work, using our various art forms to express and communicate our ideas of NEW PLACE – especially because of our 3 very different locations. Also, we have budgetary issues to consider in relation to the realization of our projects.
On the 8th, Bindu posted this:
“Lets try to suggest to each other some works that we could see, refer to or watch some films on youtube? Any takers?”
Sorry Bindu, I have no examples of works to suggest – My resource and exploration of my sub theme of ‘Identity & Belonging’, based around our general theme of NEW PLACE would come directly from the ‘Person (s) or Participant that I choose for the piece, and again, here are the questions that I wish to explore using the theme of NEW PLACE – “How one constructs ‘identities’, (even though these could be unstable or changing from time to time), and how one feels & negotiates a sense of ‘belonging’. How does one locate the ‘self’ between two worlds? Is there a sense of being in a state of constant flux when a person tries to navigate between the worlds of origin and the adoptive country? Are we (people in the Diaspora) constantly reproducing ourselves anew when as we move between the two very separate cultural spaces? Do we find that we are always in a New Place because of shifting and changing of positions – both mentally and physically?”
My desire is to explore these questions through one or two persons, and I would like to make a 3-5 minute creative/experimental documentary film.
Let me say again that I am happy for us to explore NEW PLACE from our very 3 different perspectives.
I don’t feel that any of us should feel we ‘have to make this project as a collaborative piece’ – we have been give a choice – work individually or present a joint project. It’s up to us. However, for me personally, the idea of us (3) interpreting the theme of NEW PLACE in whatever way we choose is seductive, appealing & challenging…
I have been very excited about just getting on with it and finding my own way to explore, interpret and express the concept of NEW PLACE. Oh, and I did warn you both that I am plain and boring in how I want to approach the theme. I can only do what I know, and what I am comfortable with. There are times when I refuse to wear a MASK.
I hope all is clear so far as I am concerned. Time is limited; I do not have endless time to spend thinking and discussing or saying the same thing over and over again.
The Budget is not unlimited. And also, our 3 different locations will impose a limitation to the possibility of working together in the same Space.
We all have our own ideas of NEW PLACE – why don’t we just get on and develop something, from our different perspectives, using our different art forms, and we see if the IAA team is keen or interested.
Warm greetings Beautiful minds.
Yes Florence you re are right when you talk about how people who are in the rural areas change in response to a new envirnoment that is adapt.As urbanisation and the gradual access of IT’s spread , the gap is becoming little.When I go to the village there is only an enviromental difference.Is it good or bad? It is there and it is happening all the time these days.We re living an information era.
I begin to understand your conception of ‘New Place’ and I love the tint it is gradually having.:)
However, I love to think that Culture is no hindrance to growth and experience and that apart from our culture - enculturation there is transculturation and aculturation.It could be interesting to know how the merging or mixing of different cultures has on the mentalities of people.
I m trying to find a way to use photography to express what I think. it s very conceptual . Reality is Reality fortunately.
It should be “New” our work it should meet up to the defintion we re trying to have of a ‘New place’.
Thank you for your Insight Big Sister Florence. Thank you.
Thank you Bindu for this other formulation.
I have understood you because I used what you had long said as thinking matter.
You have answered to some of my questyions , I thank you for that .Some questions have still no answer.
There still remains the action in the form of an intiative
You suggested text or video material we could discuss on.
I m still waiting. I d like to begin.
What we re doing is a big challenge. Discussing about something systematically pratical via machines who don t undersatnd the lesat thing to what we say.They even distort the semantic of our discourse.Normally It would have been much easier.But thsi is our challenge.To construct something in roup or self that should reflect reality as a whole.
Rest assured Bindu you were well understood by me , I just wanted to begin with your idea.I found it interesting.
I learn everyday and I ve learned already so much with you Bindu and Florence.
Somethings are really new to me , I better ask than to pretend I know.That is why I ask questions.How can one know if they don t ask questions? Empirism? It has limits.
Lets stay calm and focused we ll have something good .
I shoot this today !.
I loved the manner in which This philosopher said what he said.I loved most how it was pasted on the wall.
Suppose a big place and we have to fit in things into it from which way shall we begin? With photography , I can bring all part of time together and only language can make the difference. We re part of the life we create even without knowing.
It s a lovely day.I hope Bindu you re doing well and you Too Florence.
Hi Didier, I dont think you have understood me, maybe language…
anyhow i will write point wise which will make things simpler.
1. i dont care if my idea is put aside for something better or more interesting.
2. A ‘New place’ can be a non object.
3. A New Place does exist, depends upon how one tends to look at it and from where one tends to look at it. It is a question which can have multiple answers.
4. Time is short we need to communicate more often, everyday, or alternate- applicable to all of us.
5. 3 people make 3 separate works which together make one work, or 3 diff works, not complete in themselves to make one work. logistics need to be defined.
6.We can work individually on the same defined concept and then bring it together whilst editing. the definition could be operational.
7. we can work in a series of pairs. Bindu and Didier , then Bindu and Florence , then Florence and Didier we try to merge ideas and techniques, though i am not sure how feasible this will be taking time into consideration.
sorry for writing like this, kind of makes it easier for me,
If We consider A ‘New place’ as a non object that is something our minds fabricate ,this gives us more ways to forge something concrete.
I will like to think and believe That the concept of ‘New Place’ is very subjective and in fact intimate.However , in reality what is new?
The Quote you posted Bindu and the comprehension you had from it is pretty.I loved it. It made me reflect.
I see it this way now.A big place with no limits but which has to be filled in by things and by people.It has to have a structure.
Who has already gone to Space?
How could it be like to be in a place whose vastness , voidness is infinite.
Perhaps the existance of things within our ’New Place’ is apriori but THe ‘New Place’ exist because it ‘s part of our frabrication a sort of hallucination and delusion.
In fact, if I understand You well Bindu I want to ask you this question does a ‘New Place’ Exist?.
Are we not always doing things that were done before perhaps just in different manners .Our envies , desires not so much common.
Are we ever going to have a home?.
Is it not human to tend to perfection?.
what is beyond this ‘New Place’? Why Can t we think simply of something else than it? But what? But What?
Why should A ‘New place ‘even be a place.Something real. I think there is a mot d esprit here.
Are these the right questions to ask ? I don t know lets discuss.
Indeed we have to act. It is a very Fantastic statement Breda.Action might be a combination of desire and will.
In fact our creative processes seem to be working to solve this problem..I have alway wanted to know how the artist’s mind reacts to pressure.I like thinking that an artist is free in his practice of his arts as long as he has a method. The freedom is not strico senso. However , in a context of à- la -carte art how dotheir mind work?.I mean ideas have a base, a clear sustratum.Their coherent associations another base and their materialsation finally another base.
How can we from different view points find something tangible.Something innovating , something good?I propose threess ways. This DOES not in any way Dera BIndu exclude your proposal.In fact it seems like it fits into the second methodology.
We can work individually on the same defined concept and then bring it together – we discuss about our work and put it into context.If the definition is operational it will make a lot of sense.
Secondly we can work in a group.If that is your idea Bindu lets proceed with the brainstorming.
Thirdly we can work in a series of pairs. Bindu and I , then Bindu and Florence , then Florence and I.Having in come the them of our work.we try to merge ideas and techniques.
Another alternative will be do have ” no idea” no theme to work from.We could go to a site or watch a movie or read/analyse a text.
Sincerely Bindu my problem is to know which method to use.If the method will yield the best proposals and in a less time.We cannot ingnore the time factor .
Talking agai about he capacity to act, it is important to note the driving force of our actions are several and desire and will are just a few of them.
Motivation is a sinequanon for the mind to act.
Lack of will , sucide , crimes, behaving in a nought shell , living are related to motivational factors be they intrinsic or not.
I agree with you Bindu it might seem early to try and find similarities but we have not all our time.In this type of problme solving our brains have to analyis fast.Where can we find the drive to surpase the inhibitions?.
Is my time awareness a hinderance to our discussions?
I dont think we should look for similarities right now, but keep discussing and sharing ideas and views. Also we can come down to a common agreement in terms of display, presentation. Didier if Florence wants to do a video, do u feel comfortable in using photography in time/motion/moving image? we can then discuss or watch some sites together, or some artists/texts/ films and come see what comes from it? There is no harm in discussing taboos too?
is a combination of desire and will, no?
I agree with yOu Bindu We need to have aan operationla definition if we re to have a joint project.
However I still beleive we cannot see teh same things in the same way but we CAN and that I m certain find a link to what seems to have become our theme of work : NEW Place.
We should not be scared to explore several aspects of arts , even the tabou part of it.
It s very thoughtful of yours Binu to recommend patience in this endeavour.
I m thinking that we re to do different aspects of the same thing.Thus each and every one of us brings something new to the contruction.
I hope you re both doing fine.
Please lets begin working !!!
Today I am posting my proposal for new work. Waiting for your comments.
Project Working Title: Revising Ophelia
The project Revising Ophelia will present six stories: six portraits of six immigrant women coming from Iran, Turkey, Armenia, Serbia, Russia-Ukraine and Israel and their six perspectives on women’s role in Western society.
These women (need to search for them), all of who live in London, represent the first generation of immigrants and don’t have any artistic background, will be invited to participate in the project Revising Ophelia. In this project Ophelia becomes a mediator, a connecting agent between Western and Eastern female archetypes. In my view, today Ophelia can be viewed as a perfect model of modern female stereotypes that are actively present in our society.
Using resources provided by me, each participant would study and analyze Hamlet’s Great Love, Ophelia. They will be asked to read Shakespeare’s play Hamlet, Prince of Denmark, watch Colestino Coronodo’s 1976 film Hamlet, see an episode from the ballet Hamlet (Ophelia’s Mad Scene), listen to the aria from A. Thomas’s opera Hamlet, and study paintings depicting Ophelia.
Pointing out Ophelia’s best qualities and making intellectual analysis of her image, the participants will be asked to create a body of artwork based on this study. The outcome of this collaboration between the six women and me (I will give an artist talk for the participants, give individual workshops aimed at developing their artistic skills and discuss their ideas) will be an artistic commentary of a personal understanding of one of the best-known and important Western female icons. During these joint workshops, the common language of which will be English, the six women and I will discuss our ideas about the role of women in Western society and demonstrate examples of their proposed work for the future exhibition.
I see this project as a collaborative journey in which we will begin to examine how a social worker, a single mother, a DJ, or a widow can learn to use the language of art and express their views by means of making art.*here I would like to write more what this project does to us.
In our joint work we intend to use the story of Ophelia to be able to expose the confrontation between cultures, cultural and female stereotypes, as well as create a personal story of the woman living in contemporary times, the story which is based on our lifes. Through this dialogue, the participants in this project will be introduced to a new media art such as video, digital photography, sound and text and how to apply them.
Implementing this project I will collaborate with partners such as IFA Gallery Berlin (co-funder) Kunstraum Kreuzberg/Bethanien and Imagine Art After, (I collected letters of conformation ).
As a performance and visual artist, I have done much work that involved local communities. During my performance Life in the UK 2007, I asked British-born citizens to participate in a test that foreigners are required to take in order to be qualify to become a British Citizen. In my other work, The Shooting Time, I set up an old photo atelier in the former Museum of Lenin in Baku. I invited young Azerbaijan women to change their modern dresses into national costumes and participate in a photo session. In my work I am Black or Black Cancellation, I picked out men from the audience and covered them with a black cloth. Then I asked them to stay still for 10 seconds.
This time I want to play a role of an educator, a mediator and a friend. Natalia
Hello, Its is nice to read both your ideas, but i am begining to feel that we need to clarify within ourselves as to whether our projects are individual projects or a single project with 3 different views, then one can start collaborating further and look at our projects accordingly. to explain a bit further on this- i mean maybe our works can be parts of a whole too, they dont need to be a complete piece in itself? also it is a simple suggestion that if we decide as to how long the whole piece will be for example, a 3 channel projection, each channel could be about 2-3 minutes or more, it might help us in looking at the whole work in a different light. sometimes limitations are good…? i think one can then play around with the idea and the asthetics. also it will be nice to keep a balance between documentary and fiction and the aesthetics and emotive quality of it all. I know it is a very tough balance, but one can surely try? Florence you had metnioned- ‘I have to work out quickly if the people I look for should be first or second Diaspora generation, or a mixture (that is one of each?). Maybe you have some thoughts on this?’ I think it would be nice if you leave some things to chance as well. We are still at the proposal stage and will be nice if we first understand the idea and play around it a little more. Lets try to suggest to each other some works that we could see, refer to or watch some films on youtube? Any takers?
I m happy to rebegin communicating with you in the third axe of this Project.
As time chnages , things change and so I change too.A change is a chnage.
I have longed refleted about what you both said and here are my thoughts I will have as major premise Bindu ‘s Aphorism should I say about us – what is common about us is our differences.Scondly these differences are specifically perceptive and cognitive in this present context. In the unavalailability of an operation definition of New Place , I thus in order to work had to conceive my own defintion.
A New Place to me represents a genesis , a zone in space and time which does not ressemble any other place.It is a singularity ; where laws which are useful in other places might not necessarily be useful in it. A New Place is ”new’ a priori and a posteriori.
I thus propose , to develope a series of photogaphies which have been socially constructed by different perceptions of the world – Even though My subjects will be all cameroonians , I believe with proofs that they might not think like cameroonians do stricto sensu.Language been an important vehicule of culture , I intend to use it in my work.
The importance of my work is to show the crucial impact globalisation has on the psyches of Africans in general but on Cameroonians in particular.It folows some long empirical work – Anthropological perspectives.
Been a photographer , I have this aptitude to manipulate my variables so as to indeed measure what I want.The Bias is controled because The themes I ll work with will be randomly choosen by the subjects themselves-double blind.I will not know them from the unset.I will just try artistically to reproduce their lovely realities.
This is my contribution.
Yaoundé is cool NOW
Warm hand shakes .
Didier de Masso.
Sorry for the late reply,
I’m a bit busy with design projects, just want to let you know that I’ll be writing you soon with some more Ideas about our work.
Speak to you soon
Greetings to Taus, IAA working team and the rest of my colleagues.
I am back to live:
This simply means I am back in live conversation. I have survived Russian winter, German coldness, English superpolitness, and all the breaking news such as the earthquake in Haiti, global conference discussing global warming (funny enough we are still covered by snow) winning election new Ukraine president Janukowitsch and etc.
I will post my proposal ideas in a bit.
Lots to all. Natalia
Hi Bindu and Didier,
Oh no, why would you want to “… put aside my context of new place and just focus on one or two perspectives. yours and didiers…” Your original idea that we should explore New Place from 3 different perspective sounds wonderful.
When and why do people switch between languages? I believe that the comments you made about this situation could be the basis of how you could develop something? Think about it. How do people from India navigate, negotiate their way through everyday life and encounters when they are in London/UK, for example – that is, their use of language as an example of identity construction in a particular location, and time.
It would be interesting to know how and why they make a “switch between 2 or 3 different languages and speak” – language, as an important aspect of intangible cultural heritage is crucial in our desire to hold on to, to maintain some form of our cultural heritage even as we form new ‘cultures’ in our encounters with new spaces – this aspect is also important for me when I research and develop my own proposal. You will see that we will have some aspect of the content that would be similar in our projects. You may want to look at people in the city of Delhi or locate your work in London?
I have noted in my country that when people move from the rural areas to visit the city, they are completely in New Territories – they have to adjust quickly, both mentally and physically in their interaction and many other aspects. How they speak and behave matters a lot in many ways. Didier, have you noted this in any way?
How are you getting on with your NEW PLACE project idea?
I think the next stage for me now is to start looking for potential subjects for the project; my approach is much people-led (the ‘social actors’) – it’s vital to find the right people. Their comments, responses, conversations or monologues would provide important aspects of the film’s arguments/content. I have to work out quickly if the people I look for should be first or second Diaspora generation, or a mixture (that is one of each?). Maybe you have some thoughts on this?
It’s sometimes best to start with what one knows – So to be more specific, I will be limiting myself to exploring our theme by looking at a slice of the Cameroonian Diaspora in the context of ‘Identity construction’ and the notion of New Place. That’s me.
Warm greetings – spring is almost in the air!!!
It rained today and I asked to know if it was normal it does this period of Ferbuary.
A farmer told me it is possibkle as it rained seldom during december.
He was happy as ploughing the soil when it rains is less tidious .
In time I ll begin my ploughing.
Greeting Dear Florence and Bindu and dear Bindu and Florence.I hope you ve been all doing well. I have just been in other sorts of vortexes of sensations.
Hello Florence, You have put this rather well. 2 days back i went 4 dinner at some of my friends place and had this very interesting conversation on the lines that you have been talking about it. and i thought of reconstructing this conversation and recording it as well. what was interesting and is maybe interesting is that we often switch between 2 or 3 different languages and speak. Something which i take for granted but could be very interesting for an onlooker. just an observation. i was also thinking that i am rather happy to put aside my context of new place and just focus on one or two perspectives. yours and didiers. and yes we can start researching on this now, i think it is high time. if you have an further ideas, pl tell me. if you want me to research on any particular site or have a look at something that too will be nice.
Cheers and look forward to hearing from you,
Hi Bindu & Didier,
Bindu – It’s good to read about your interesting reflections on your grandfather’s paper cutting designs, and your own art practice today. Some things don’t change with Time; but in some cases, methods of creating/making do change with Time. Seems like you have inherited his skills and passion for the arts or creating things/objects. He would be proud of you – seeing that you are doing what he loved, but with more sophisticated means now, and also reaching out to a much wider audience in different Spaces?
About our NEW PLACE project – my take on this would be issues around Identity & Belonging for a person in the Diaspora. How one constructs ‘identities’, (even though these could be unstable or changing from time to time), and how one feels & negotiates a sense of ‘belonging’. How does one locate the ‘self’ between two worlds? Is there a sense of being in a state of constant flux when a person tries to navigate between the worlds of origin and the adoptive country? Are we (people in the Diaspora) constantly reproducing ourselves anew when as we move between the two very separate cultural spaces? Do we find that we are always in a New Place because of shifting and changing of positions – both mentally and physically? These are some of the questions and issues I would like to explore with this project; and I am interested to see how these would manifest in visual representations. I had indicated in my previous communication that, I would attempt to explore these ideas/issues through other people.
If we are to come up with concrete project proposals to present to the IAA team by the time indicated, should we start researching and developing our ideas? Have you both started? At the moment, my time is limited because of my teaching. I should make a start to find potential subjects/participants; it’s the only way I can come up with a proposal that would make sense.
Ok, I hope to read about your plans or next stage.
I’ve been thinking about industry in Zimbabwe particularly because of the fact that for a long period throughout history, Zimbabwe was famous for it’s expertise in metal working. Remnants of that ancient tradition still exhists in traditional settings as well as in heavy duty industry. Smithing be it goldsmithing, blacksmithing etc is also linked to music – mbira music and agriculture etc etc……..strong traditions around those themes still exhist…which should be interesting to explore. there are many other settlements and cultures which had monumental industry….worrior based societies in weapons manufacturing etc….
Probably the hardest thing I experienced after leaving was not having my own studio space. My room is a single room shared between two- 6 by 10 feet approximately, the space has little largish single bed, one cupboard, 2 side tables and a computer table and of course not to miss a huge white sink!!!. For me the value of money was only if one could afford a space that one could call ones own, be it a foot size, i would like to measure the size of my room by per square coins per inche.. if there is any such measurement…. probably one can fight against many odds, but there are some odds too hard to fight against and one gives in. when people leave their homes they miss people, sights, spaces, food. i miss my luxury of that one square foot, my own studio. a place i can go to, lock the door and be with myself..
Hello Didier and Florence – Its been 4 days since we were informed about the new stage, and it has felt like ages to me… as if years had passed and i had missed out on something precious in life. Anyhow Florence I think you have understood as to what I have suggested, sometimes it takes me time to formulate my thoughts. At least with this project i am slowly but surely becoming a more confident writer. When i wrote my earlier mail, i felt that i was always looking for things in common, which was based on my presumption that there were huge differences between us!!!! it felt like a strange thought to me. In searching for something in common i had already created a difference.
I normally dont quote- but this time i will -
“Speech cannot be understood if there is a pre-existing code which is institutional. Our access to spontaneity is governed by those structures which one associates with writing. This relationship between languages compels me to recognise that neither is a natural or an artificial language. I am devoted to my natural language but i cannot think it as natural, because to an extent one is never natural, one is never at home.” Gayatri Spivak.
For me a New Place will be a state of mind that is at rest yet constantly changing. Its like images can change, move, one can move from place to place, but still one is always in an eternal state of rest.
I too think this project will be nice if it is split into a three channel projection. There could be many permutations to it but i would only have one suggestion that is that one normally talks about place in relation to time and somehow time seems to be an important factor in someways , it would be nice to retain the emotive content of this work. (maybe not the right time to say it, but just wanted to share …. )
Didier wrote something really niec- “The time in between our differet existences should not make us forget that inbtween time , things change and are even changing.”
By both of u, I will be in touch now, reading and writing and drawing.
Tk care and do write,
Good morning Dear Monica
I saw the complete documentary and believe me it stroke me, I took some notes and a gave it a time of thought. In fact historical memory it’s something I have always wanted to work with and maybe this is the time and the opportunity to give it a chance. But, I have to say something that I was thinking, last night as I watched all the documentary; lots of things came into my mind: one of them was how to say something about all this violence in a way in which you can transform this pain into something sublime. Newspapers and news on tv are precisely recalling on this , naming violence and informing about it:That’s it. But if you compromise the work with this situation ( and I do feel I must) you must transform pain into something, right? For example, the people who returned to El Salado after the massacre, had been through a lot in their lifes, but decided to start to build everything up again. That kind of acts are memorable,shows integrity, determination and strength of mind and I Believe that it is the only thing that is valuable in these traumatic situations: the way out, capacity to get over it, that is what we must learn and seek… For example there are here, in Colombia, lots of women who have been victims in this war and they do amazing things like for example, the women in Choco, who declared their bodies as firts places of peace, as living symbols, and they are widows and women who have been through very difficult circumstances, they make a kind of performances to give people a consciousness of the consequences from violence. This kind of acts for example, and there many many more I would love to talk about them to work with people who can pass through pain all the way until they have something for them so valueable that can no longer be taken away.
A very close friend of mine was kidnapped almost 12 years ago with her sister. Their family suffered very very much,her parents got very sick and the situations was terrible. When she came back from her kidnapping I recall that we were all very angry and full of rage and wanting somehow a punishment and a revenge. And surprisingly she was was talking about forgiveness which I think is the higher way of reparation and the true way to real peace making in this country. We have been trapped in a cycle of revenge and hatred that is unstoppable and is causing the perpetuation of violence, because this is a primary need, the instinct of revenge. I would like to work on the reflection of forgiveness. True forgiveness…how to forgive, not forget, but forgive, Resilience, how to get over violence to make up your life again, to start over….that is what I would like to think about…
I must go now, but I am excited to think about this new phase of the project, making it happen…
Thanks for the El salado Documentary…
Please tell me all you think I will share my notes later on…
Wanted to share some images of my weekend trip to Suzdal.
Just an ordinary house. I like how the birds occupied the architecture.
Fairy tail Russian bogatyr/hero with Fiedrake, the princess is nearby. Its a hotel. Forgotten bottle of water in the car, turned out to be a bottle of ice in the morning…
Exhibits from the local monastery museum
The first time i have ever seen a small icon that was made to be worn on your neck…never seen before…Archangel Michael end of XV-begining of XVI 6.9 x 3.7
This embroidery really made me gasp, its called pokrov/cover and usually shows a saint full length and was сovering a tomb of the saint depicted… dates 1645 size 212×102, Saint King George Vsevolodovich. The face…THE FACE! Do you see what im astonished with?
So, the time has come) I bring Dagestan brandy, wine and Kizlyarka-grape vodka) we can break the apples with our foreheads!
I used to think that airplanes flapped wings when they flew…
white white red …is that a metaphor for the flashing light on the plane wing? … im being retarded here
Brilliant idea about a show in your warehouse/i love the one evening shows and shows in private spaces)!!! we will not freeze as we are already drinking in a virtual discussion, no chance we wont do it for real!
i’m thinking about doing a show in Moscow, slide projections, videos in one space/a private narrative will built out of it/some objects (slides) from my grandfathers house will be there, may be short video ”Dogs-as Natalia called it” that i shot for IAA and more, i can bring the things i have ready so far and test the concept…or may be we will have time to shoot smth)
What do you have in mind? Will you perform?
I would love to see you Fox Cub, or hear about it face to face, the information i have now in my hands/not enough…) do you want to put some pics up?
What do i want to do with you…biting back, bouncing ideas here and in reality, i want us to help each other develop our ideas in this strange migrated dialogue, that’s what i want from us. From you i want criticism, i want to know what you think! if smth is not working, if smth is bad, i want you to be as harsh as you can when we talk about our art…and i want to understand the poetical dimensions of your work….like earlier i was so narrow-minded not understanding your white white red…teach me/expand my forehead dear Ana!
Till very soon!
Hi Bindu & Didier,
It’s nice to be back in this space again.
About our potential project; I never really expected that 3 of us would come up with similar perspectives or approach to the notion of NEW PLACE.
It’s great than Bindu has made it more explicit by suggesting that we explore or share our notion of NEW PLACE from our 3 different perspectives.
What is common as Bindu says, is our difference, and there’s ‘Beauty’ in difference; through our diverse outlooks, we can narrate, observe, interpret and share our diverse observations of the concept NEW PLACE. I think this would be great to be able to make something that provides a platform to share our ‘different perceptions’ – the commonality is both our different approaches as well as the theme of NEW PLACE. Does this make sense? Maybe what would ‘not be Common’ would be our method or form for exploring the theme.
When we started this discussion about a collaborative project, I said that I am curious to explore the idea of NEW PLACE by looking at how others deal with the challenges or questions of ‘belonging’ and a state of being in-between two worlds that are in essence ‘New Places’ of sorts.
On the question of form, I would like to express my desire to use both still and moving images to explore the notion of NEW PLACE. I am thinking about a very short visual piece that would use Montage, Split screen and other filmic elements to communicate ideas, feelings and the meaning of a New Place for particular persons (x 2) at a particular locale in time.
Ok, I await your ideas.
Sending you both warm greetings,
hi bei, nice to hear you again, these days are busy for me, planing for the this year, meeting many people, making new friends in rijks, it is nice that you can get balance between art and job: ) i will meet this problem in near future: (
dont be shame about following the fashion trend, it is nice sometime follom some trend with empty mind, we always need some easy please.
Hello Andrew, how has it been with you. Its another Research and Development phase which I would fuse psychologically as a continuation or retrospect on our dialogue referring to the quest ”What do I want” by the IAA team. To me it involve mental, physical and emotional gesture. I think its time to express what you really want your art to do… Anyway, for now my internet connection allows me to browse all night till the early hours of the morning and also weekends. so between intervals, I’ll be painting in the studio. talk to you later to in continuation to research and development.
Cheers, welcome to a new phase
This bit of the project should be interesting. So in typical fashion I couldn’t wait to start writing. Industry and industrial architecture. That’s whats been flyng around in my head. To map it’s progress good or bad is the plan….documenting in video, drawing, sound and any other means the lives of the machines and the people who operate them. You see about 51% of Zim’s population live in Harare and Bulawayo of which half that population are the youth….so I’m assuming this generation of youthfulness must play some critical role in industry somewhere….in both action and inaction. Africa is barely known for it’s industry that is why I wish to explore it’s internal mechanisms studying in particular the lives of man vs Machine…..I can imagine the drawings and video will look quite stunning.
How we go about this will be interesting……I’m assumimg starting at the key energy sources Hwange and Kariba and the people. There is also the issue of rural to rrban migration. The funny thing is in the old days these places used to be very very sacred now it’s a different story……..the question is what story. Mix and mash any ideas you have to perfect the idea until we have a perfect piece
How are things at the residence?
cooking nice healthy food, I guess.
Have you checked the set of instructions for the next stage in the process? Exciting.
Get your arse moving and let’s start talking about what on earth are we going to do. How is it you access to internet at the moment?
Just to start rolling the ball, check this link. Please ignore narrative even its aesthetics I just want you to concentrate on the subject and let me know what you think:
Here a photo of last friday’s encounter with Tony Blair
Hello Yang. Sorry for my long term break. Here are tow good news from myself that I would like to share with you.
First of all I met the 007 actor at Royal Academy when I was almost finish work yesterday. Second I finally transfer my gallery assistant job into a part-time.
It means I got few more time to do whatever I like. I saw your last entry about question of life and others. Personally I always feel that suspicious.
As I shut down allmy creative work at this moment, all I feel is doubt of life sometimes human nature….
I saw a book at water-stone, a common book store in UK. There is a book seems really popular, it’s entitled ‘ how to walk with high heels’ .
Due to I was awaiting someone, I cost 1 hour and a half to read this book. Then I realize that is kind of guideline which helps ladies understand what is fashion and what is good manner for a pop lady. For me it’s an interesting phenomenon that an author attempts to manufacture her reader in quite a fixed form. However, the book still attract lots of people even myself. Maybe I shall confess that I am not wise enough and still like a little girl who insist to follow the fashion trend.
I received a letter form IAA and inform all of us should think about our new project. Anyway, the boring assistant job will annoyed me less than before. And I suppose that I will have more time concentrate my career seeking and creative work. As I said, I always make sth with enjoyable.
I wake up and pass myself a big smile, today is a new day!
Our artists & filmmakers develop proposals for new work from February – June 2010. New projects are triggered by the dialogues which took place from November 2009 – January 2010.
You can see online how artists & filmmakers develop ideas, and you can engage with the proposals.