Thursday, May 22, 2014

I Think I Know What You Want To Say, 2014

First photos of my newest piece, "I Think I Know What You Want To Say" (installation with video, photos, drawings and objects), currently on display in Dilsberg (thank you, Doro, for the wonderful photos). Portfolio page coming soon!

Wednesday, May 7, 2014

Frances Goodman in The Divine Comedy, MMK Frankfurt (inspiration, process)

My favorite piece in the show, The Divine Comedy (MMK Frankfurt) was by a South African artist I hadn't heard of before: Frances Goodman. Her piece was a sound collage, which was apparently originally part of a larger work (which I would have liked to see) called
The Dream.

According to her gallery, the piece was "constructed from her interviews with dozens of unmarried South African women, revealing the strong and varying opinions and feelings women have with regard to marriage and the societal pressure placed on them. Their opinions and voices are powerfully interlaced, forming what almost becomes an open and candid dialogue about the heated subject of weddings, marriage and their associations. Goodman admits that the level of honesty and disclosure surprised her.

“That’s what women do, they get married,” declares one anonymous voice. “If I was out with my mom and her friends and there was a 30-something year old woman who wasn’t married and she didn’t have children, I would think ‘how very strange’”, says another. “I think, ‘oh I’d have a better cake. I don’t want a wedding, but I would have a better cake’” admits another. “I feel like I’m getting older, I feel like I’m reaching my expiry date.” Another voice states “I’m much happier when I’m single. I don’t have anyone to question me, I’m not trying to please anyone.”

Meg Stuart / Damaged Goods, "Hunter" (inspiration, process)

I wish I could see Meg Stuart's new work, "Hunter":

"How can I digest the many influences and traces that shaped me as a person and artist? How can my body unfold quantum genealogies and unrealized histories?"

In Hunter, her first evening-length solo, choreographer Meg Stuart explores her own body as an archive populated with personal and cultural memories, ancestors and artistic heroes, fantasies and invisible forces. Discovering traces in the land of small things that linger around her body, Stuart translates them into a series of self-portraits. Experiences are cut up and spliced together on the editing table to reveal potential connections and forms, such as a cartoonesque body, a shamanist chanting ritual, or a noisy sound sculpture. Stretched onto different surfaces and ricocheting across media, interior states refract and resonate in a shared world.