Jess's What am I doing?: Difference between revisions

Latest revision as of 17:06, 29 October 2015

Word count 1500 max.

1 What are you working on now? What are you thinking of making? I am continuing to write and read for my PhD Sex Lies and Videotape. I am simultaneously opening up the box of the stuff that happened in South Africa for the White Horse.

2 How do you plan to make it? With my hands. I have been experimenting with a different (for my practice - not revolutionary for art practice) way of unpacking ideas though objects rather than though research.

3 Why do you want to make it? I want to understand what the White Horse project is and how/if it will continue to grow as a constellation of work.

4 Who can help you and how? I have enjoyed conversations with the tutors and my peers here at PZI and will continue to seek out specfic people to talk to about the various elements of the project/s I am making

5 Relation to previous practice I make work that sits in the juncture of dance, video, performance and photography, this body of work continues this 'constellation- like' approach to bodies of work, the paper unpacks this.

6 Relation to a larger context

My paper: In the era of neo-liberal capitalism, the art market’s intensified power in historisication and attention to bodies of work that include ephemeral art forms, this paper asks the question; what methodologies are useful in dealing with the relationship between the document and the original?

This question is timely as many contemporary artists begin to intentionally conflate performance and documentation in their practice, whilst at the same time this conflation is happening retrospectively to the work of artists such as Yvonne Rainer who may not have initially intended for this to happen. I will argue that this conflation marks an important turning point in the way performance sits along side other forms and that we need to reflect this in the way in which we discuss such bodies of work.

My practice:

7 References

My paper: In the same way the De Sassure was interested in the patterns and functions of language I am interested in the patterns and functions of the elements that make up a body of work in contemporary visual art, in particular the relationship between the original or spoken (the live) and the document or written, subsequent body of work that may follow the live event. I am interested in understanding where this dichotomy evolved and if in fact De Sussure and Austin are to blame. I am interested in of the development of film and photography as a potential disruption to this binary as well as the notion of queer time as discussed by Elizabeth Freedman.

I want to explore whether Delanda’s Flat ontology as well as Actor Network theory both of which are Delezian, which will lead to a discussion of the assemblage from a Deluzian perspective could be an alternative to system of the status of the art object. This will lead to a to discussion of what a Feminist flat ontology might look like in relation to documentation and performance.

My practice:

@@ Line 2: / Line 2: @@
-Contents [hide]
 What are you working on now? What are you thinking of making?
+I am continuing to write and read for my PhD ''Sex Lies and Videotape''. I am simultaneously opening up the box of the stuff that happened in South Africa for the ''White Horse''.
 How do you plan to make it?
+With my hands. I have been experimenting with a different (for my practice - not revolutionary for art practice) way of unpacking ideas though objects rather than though research.
 Why do you want to make it?
+I want to understand what the White Horse project is and how/if it will continue to grow as a constellation of work.
 Who can help you and how?
+I have enjoyed conversations with the tutors and my peers here at PZI and will continue to seek out specfic people to talk to about the various elements of the project/s I am making
 Relation to previous practice
+I make work that sits in the juncture of dance, video, performance and photography, this body of work continues this 'constellation- like' approach to bodies of work, the paper unpacks this.
 Relation to a larger context
-References
-What are you working on now? What are you thinking of making?[edit]
-How do you plan to make it?[edit]
-Describe how you will go about conducting your research through reading, writing and practice. In other words, through a combination of these approaches, you will explore questions or interests you have laid out in your general introduction. In this section you can help us understand how your project will come together on a practical level and talk about possible outcome(s). Of course, the outcome(s) may change as your research evolves, but it's important to have some idea of how your project might come together as a whole.
-Why do you want to make it?[edit]
+My paper:
-Who can help you and how?[edit]
+In the era of neo-liberal capitalism, the art market’s intensified power in historisication and attention to bodies of work that include ephemeral art forms, this paper asks the question; what methodologies are useful in dealing with the relationship between the document and the original?
-Relation to previous practice[edit]
-How does your research connect to previous projects you have done? Here you can use the descriptions you made in the first session or make new descriptions
+This question is timely as many contemporary artists begin to intentionally conflate performance and documentation in their practice, whilst at the same time this conflation is happening retrospectively to the work of artists such as Yvonne Rainer who may not have initially intended for this to happen. I will argue that this conflation marks an important turning point in the way performance sits along side other forms and that we need to reflect this in the way in which we discuss such bodies of work.
+My practice:
-Relation to a larger context[edit]
+References
-Meaning practices or ideas that go beyond the scope of your personal work. Write briefly about other projects or theoretical material which share an affinity with your project. For example, if you are researching urban interventions, you might want to research about Situationist approaches to psychogeography, urban tactical media and activist strategies of reclaiming the streets. Or, if you want to explore the way data is tracked, you might touch upon the politics of data mining by referencing concerns laid out by the Electronic Frontier or highlight theoretical questions raised by Wendy Chun or others. (Keep in mind that we are *not* expecting well formulated conclusions or persuasive arguments in the proposal phase. At this juncture, it's simply about showing an awareness of a broader context, which you will later build upon as your research progresses.)
+My paper:
+In the same way the De Sassure was interested in the patterns and functions of language I am interested in the patterns and functions of the elements that make up a body of work in contemporary visual art, in particular the relationship between the original or spoken (the live) and the document or written, subsequent body of work that may follow the live event. I am interested in understanding where this dichotomy evolved and if in fact De Sussure and Austin are to blame.
+I am interested in of the development of film and photography as a potential disruption to this binary as well as the notion of queer time as discussed by Elizabeth Freedman.
-References[edit]
+I want to explore whether Delanda’s Flat ontology as well as Actor Network theory both of which are Delezian, which will lead to a discussion of the assemblage from a Deluzian perspective could be an alternative to system of the status of the art object. This will lead to a to discussion of what a Feminist flat ontology might look like in relation to documentation and performance.
-A list of references (Remember that dictionaries, encyclopedias and wikipedia are not references to be listed. These are starting points which should lead to more substantial texts and practices.) As with your previous essays, the references need to be formatted according to the Harvard method.) See: http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing#The_Harvard_System_of_referencing
-Feel free to include any visual material to substantiate, illustrate or elucidate your proposal. For example use images to reference your work or that of others.
+My practice: