Graduate Seminar 23-24 Aitana

Thesis draft proposal

https://pad.xpub.nl/p/Sesh3ThesisOutline

I want to write a series of self(hi)stories that navigate between theoretical currents, novels and films. These self(hi)stories are based on personal experiences that I have written over the last few years and that have marked me in some way. Most of them have been written in a diary. Some are more reflective and intimate, telling how I felt at a time of difficulty. Others are descriptive; often I didn't know what to write and simply described. There is also a more conversational type, where the written language converses with the drawings. The writing also speaks of conversations, encounters and moments with other people. The self(hi)stories that I will focus on for this thesis are relational, born out of moments of exchange and communication with others.

It is in these moments of exchange and communication that positionings emerge and relational dynamics become visible. When we communicate, we position ourselves, we adopt a role, we wear a certain costume. There are figures of submission, of domination, of companionship.

In my video "We are a team" I explore the toxic environment that a colleague and I encountered while working on a multinational company, while we were young women in our mid 20s the rest of the company were men in their 50s. In this environment I became very conscious of my way of expressing myself and listening. In these relational moments I have asked myself what my voice has been, how I have been able to express myself or not, what has prevented me, who has made my expression possible or impossible?

I would like to expand on these self-histories, which are born out of concrete and very specific moments in my life. I would like to explore through writing "what could have happened if", but also "what would happen if". To explore possibilities. Rational, crazy, magical, violent possibilities. I would like to play with them, to give them another colour and shape so that they become something else or they become again what they were. (Speculative writing?).

I want to develop a writing practice that embraces my artistic practice, I don't want it to defend it, or constrain it, or support it, or justify it, or validate it. I don't want it to be behind or in front, on one side or the other. I would like them to walk together and to feel at ease in a place beside me and in a place outside of me.

I would like to have a situated artistic practice, recognising that it is not neutral, but is traversed by my context. I believe that writing and reading can facilitate this.

Key issue 1= Foreign languages. Key issue 2= Disembodied voices. Key issue 3= Self(hi)stories

Rapid prototypes

21th September

Interweaved script

October 2023

Rapid text: Graduate Project Proposal

#WHAT DO YOU WANT TO MAKE?

I want to make a series of pieces that resonate with the short film I am working on now called “Talking to you, talking to the other”. It will be called “struggling between definitions” (hypothetical title).

A project about fitting or not fitting into spaces/situations/contexts. A project about trying to fit (into something). A project about struggling between definitions. 

The research will have a base on language struggles, that is, on one side, I will explore what kind of errors there may be in communication, be they misinterpretations or language errors. I will also explore what kind of vocabulary, syntax and prefabricated phrases are used.

It will consist on a series of photographs, texts and videos exploring material extracted from the business world such as: bosses’s discourses, work meetings and personal relations. 
It will be probably be presented in an installation format.

#HOW DO YOU PLAN TO MAKE IT?

It is a project that I think requires a lot of gathering, so I will harvest from different sources. Also I will need new material, don’t know which one yet.

:VIDEO
::Personal sources
:::I will keep working listening the recordings I have and working with the transcriptions.
:::I will keep working on the footage I shot this summer, footage and recordings.
“Zooming out” sources
I will look for related found footage from TV and Digital archives.

:PICTURE
::I will need to define this, how can this subject be explored only by image. I think that some rapid scratches prototypes would be nice.

#WHAT IS YOUR TIME TABLE?

This upcoming months I will work on the final outcome of my film “Talking to you, talking to the other”. As I perceive it as my main point of the resonant directions that my future project will take, it will allow me to gather material on the side and divide it into different action points. 

:Sept-Dec 23
::Preproduction, gathering material, keep working on the short film.

:December 23
::Finishing the short film “Talking to you, talking to the other” (related project.)

:Jan-Feb-March 24 
::Production/editing

:End of April
::Finish

#WHY DO YOU WANT TO MAKE IT?

The upcoming project would address themes that I didn’t have the time to address in the short film but that are closely related. Rediscovering this material made me think again on some questions that were very much present while working on that company and that still resonating nowadays in different contexts.
At that moment in the company I felt there were problems but I didn’t manage to recognise them or define them, feeling stocked and unable to solve them, unable to action. I felt a haze over my head that I couldn’t touch, it was difficult to see. All the ingredients of the undefined problem paralysed me and made me wonder: what is the actual problem here? who were us, the workers? what were we doing wrong? Were we doing something wrong? and if not, what was the problem? The answers might be found around economic struggles and gender issues, I think. I will try to explore this.

( notes:
These are: the conditions which are mainly related to language struggles.
To strive through definitions taking about my condition. 
		)

#RELATION TO PREVIOUS PRACTICE

I want to make a series of pieces that resonate with the short film I am working on now now called “Talking to you, talking to the other”. The first version of the film is already finished and it is 07’55’’.
The film explores oppression at work through intimate encounters with my former colleague and friend. We shot and recorded conversations together talking and remembering the experience we had 4 years ago working on a company. We also re-enact documents that we had from this period such as recordings of meetings by reading or performing them.

Another work in progress that is closely related to this project is a video called “Ok, vale” around 8’, made up of (edited) advertising images from French photographic magazines in the late 70s and 80s. It explores the echoes and resonances of the male gaze in relation to the image-making world. Playing with dissonances between the image that is seen, the language that is read and the word that is heard, a voice over directs the rhythm by agreeing to the image that is shown and by trying to define it. 

( notes:
This video is about acceptance or submission? The systematisation of the agreements? The systematisation of the things we take for granted?
		)

#RELATION TO A LARGER CONTEXT

#REFERENCE/BIBLIOGRAPHY

Rewriting Text session 2

1 What do you want to make?

I want to finish the project I am currently working on called “We are a team”, an 8 minutes short film that explores the toxic ambiance that Inês and I encountered while working on a multinational company. Inês The film is divided in three parts or chapters: Strategy, Communication and Termination and it has been recently presented at WORM as a work in progress.

In this video I’ve been working with two different spaces by two different kind of footage that I’ve called for now “the paper/the spoken”. In the spoken material, I’ve met Inês and I’ve shot and recorded a conversation where we remember the time we spent together in that company. However, if I wanted to be a more conversational material between her and me, it spontaneously became a monologue from in which she speaks and I intervene very little, just to conduce or guide a bit. In this part I was more interested in the spoken story rather than in the image, that is why, in part I’ve chosen extreme close-ups of her face and her hands with a shallow depth of field. In the paper footage, I explore through more experimental exercises different visuals within the A4, that is, doodles, drawings, written text or forms.

I feel the short film needs more time, maybe 15 minutes, perhaps little more. I still have a lot of material with Inês that I think is worth to work with and find its place on the project. On the other hand I would like to discover which role does my voice and my story has on it.

2 How do you plan to make it?

I’ve already explored the material and swam on it and even if I feel there could be new material that could be created, I am comfortable enough to take a more directed path, that means, it is time for structures and decisions. - I will decide and expand the different chapters to see if they can be extended. - I will try my voice over, with my personal point of view as narrator/character. I think this is an interesting exploration for me as it makes me wonder how do I want to present and tell the story (and if it is necessary or if it narrates itself), am I an omniscient narrator, if so, till what extend? Does this narrator know more than the main characters? I feel this point could become a further exploration. - The sound and the color grading need to be improved.

3 What is your timetable?

I think this video works as a statement of intent, I’d like to finish it by November in order to have time to reflect on it before the next project.

4 Why do you want to make it?

Rediscovering this material made me think again on some questions that were very much present while working on that company and that still resonating nowadays in different contexts.

At that moment in the company I felt there were problems but I didn’t manage to recognise them or define them, feeling stocked and unable to solve them, unable to action. I felt a haze over my head that I couldn’t touch, it was difficult to see. All the ingredients of the undefined problem paralysed me and made me wonder: what is the actual problem here? who were us, the workers? who were us, the young girls working? what were we doing wrong? were we doing something wrong? and if not, what was the problem? The answers might be found around legendary gender issues that I will try to explore.

( notes:

These are: the conditions which are mainly related to language struggles. To strive through definitions taking about my condition. )

5 Who can help you and how?

I think one of my focus now is the technical part in sound and color grading. For this I think Barend will be very helpful, also my colleagues in the master as I have very little knowledge in this field. My friend Ariela that has been working in the film industry for years, and specially in editing, would be immensely helpful.

On the other hand, talking with Te, Arabella, Sam, Claudio and Luni the last months in weekly meetings has been very useful. I feel in a very horizontal space where we can talk and reflect together.

6 Relation to previous practice

Another work in progress that is closely related to this project is a video called “Ok, vale” around 8’, made up of (edited) advertising images from French photographic magazines in the late 70s and 80s. It explores the echoes and resonances of the male gaze in relation to the image-making world. Playing with dissonances between the image that is seen, the language that is read and the word that is heard, a voice over directs the rhythm by agreeing to the image that is shown and by trying to define it.

( notes:

This video is about acceptance or submission? The systematisation of the agreements? The systematisation of the things we take for granted? )

7 Relation to a larger context

8 References/bibliography

January 2024

Ongoing references

• Laure Prouvost

the legiscon of Laure Prouvost

being lost in a labyrinth of thoughts

This survey will delve into the philosophical depths of Prouvost’s work, considering the notion of the pre-verbal, as well as its incompatibility with the verbal. Presenting a substantial body of work, the exhibition seeks to emphasise the web of ideas the artist develops for considering the complex state of mental life. Her practice has deep resonance to some of the significant contributions of mid-20th century philosophy and psychoanalysis. This includes the work of pioneers in Object Relations Theory, such as psychoanalyst Melanie Klein, who considered core aspects of human intellectual and emotional development, as manifested through our relations to objects and the external world. Affinities can also be found with the philosophical writings of Simone de Beauvoir, particularly on the need to acknowledge our fundamental ‘ambiguity’ as humans as a way to find freedom.

from https://www.e-flux.com/announcements/207745/laure-prouvostam-big-you-us-legsicon/

• Marta Garrido
• Pilvi Takala
• Los Torreznos
• Penelope Umbrico
• Miroslaw Balka

The installation we are featuring in the large room is called “Common Ground”, and is made up of 178 old doormats from different houses in Krakow (Poland) and a surveillance mirror on the ceiling.

The 178 doormats are placed to form a huge matt to symbolize the transit from the outside (public) to the inside (private), although it may likewise be understood as a barrier (a border). More than a few people will stop cold at the great doormat and will not cross over it, in which case they will not have perceived it as an element of transit but of separation (border).

from https://www.artrabbit.com/events/miroslaw-balka-transit

• Las Tesis
• Mierle Laderman Ukeles
• Annie Ernaux
• Faith Wilding
• Martha Rosler
• M Teresa Hincapie

María Teresa Hincapié (Armenia, Colombia, 1956 – Bogotá, Colombia, 2008) fue una de las figuras más influyentes en el campo del arte corporal y de acción latinoamericano. Su obra es una reflexión en torno a lo cotidiano, lo sagrado y lo femenino, una llamada de atención sobre lo imperceptible en la que la precisión de movimientos, la repetición calculada y la temporalidad expandida son las estrategias mediante las cuales la artista transforma tareas rutinarias en actos simbólicos.

Los registros de performances como Una cosa es una cosa, Punto de fuga o Vitrina evidencian la investigación llevada a cabo por Hincapié en torno a las relaciones que se establecen entre nuestras acciones, los espacios y las cosas. María Teresa Hincapié. Archivo: 1980 – 2008 no es sólo un acercamiento a una obra singular en la que se funden arte y vida, sino un homenaje a una artista que creyó firmemente en el sentido de sus acciones y la capacidad que estas tenían para estimular el pensamiento.

Después de una de sus presentaciones, le preguntaron en una entrevista si esa acción hablaba exclusivamente a la mujer. Ella se desligó por completo de esa posición e incluso afirmó con contundencia que la obra también hablaba a los hombres: «¿Acaso ellos no viven en un espacio doméstico?». A pesar de su reticencia por pensar la obra como un lugar crítico sobre el papel de la mujer en el medio, hoy, desde la perspectiva política y conceptual del feminismo, constatamos que las decisiones plásticas que tomaba, y su manera de ejecutarlas, constituían lugar un modo de resistencia a una sociedad totalmente capitalista y patriarcal.

No era la primera vez que ella cuestionaba esos postulados. Dos años antes, como antesala a esa performance, en una obra titulada Vitrina, Hincapié ocupó durante ocho horas —de nuevo, una jornada laboral— y a lo largo de tres días un escaparate en un espacio comercial bastante concurrido de Bogotá. Barría, fregaba, aseaba el lugar, algunas veces se peinaba y otras, tras pintarse los labios de rojo, besaba el cristal hasta hacer desaparecer todo resto de pintura de su boca. En una de esas, y con el mismo lápiz labial, escribió:

Soy una mujer sin corazón Soy una mujer azul Soy una mujer que vuela Soy una puta Soy una mujer

En aquella performance la artista transformaba su cuerpo, convirtiéndolo en locus público de las contradicciones y violencias de un sistema. Tanto Una cosa es una cosa como Vitrina hacen visible un orden de lo privado en lo público, planteando, no solo preguntas acerca de la cotidianidad y el tiempo de la intimidad, sino también sobre las tareas domésticas y el trabajo; sobre los modos de habitar otros lugares políticos construidos desde una subjetividad que tiene un lugar y un discurso en el cuerpo, en la memoria y en el deseo, pero que se inserta también en un sistema social y económico profundamente desigual.

(...) que con su obra plástica y performativa se adelantaron a algunos de los debates políticos y sociales que se desatarían más adelante— confirmarían que la expresión artística se anticipa con frecuencia a lo que el discurso y la historia aún no han llegado a conceptualizar.

En Hincapié habitaba la necesidad profunda de parar para experimentar e imaginar otro mundo. Desde sus primeras apariciones como actriz de teatro en Ondina en 1985 y Parquedades, que realizó junto al artista José Alejandro Restrepo en 1987 y donde primó la improvisación mediante su propio cuerpo a través de la música y la experimentación con otros medios, hasta performances como Esta tierra es mi cuerpo (1992) y El espacio se mueve despacio (2004), Hincapié siempre buscó activar otro tiempo, un nuevo tiempo.

de https://artishockrevista.com/2021/02/01/maria-teresa-hincapie-archivo-1980-2008/

also::https://www.youtube.com/watch?v=AkZJ_dY1s40&t=39s

• Gary Hill

Mediations (towards a remake of Soundings) 4:17 1979/1986 Cámara/grabadora de video a color, dos micrófonos, mezclador de audio, parlante y arena “El comienzo de una nueva versión de un trabajo anterior [Soundings, 1979] en el que quería ampliar la reflexividad de cada texto en relación con la interacción entre diferentes sustancias físicas, en este caso, arena, y el cono del altavoz. Un altavoz llena la pantalla y empiezo a hablar, refiriéndome al propio altavoz. A esto le siguen más declaraciones de lo que estoy haciendo, ‘…una mano entra en la imagen…’. Una mano llena de arena entra en la imagen y la suelta lentamente en el cono del altavoz. Cada matiz del habla hace vibrar el cono (o membrana) del hablante, haciendo rebotar los granos de arena en el aire. Cuanto más hablo sobre lo que está sucediendo, más cambia, o retroalimenta, el movimiento y los patrones de la arena. A veces, el grano de la voz aparentemente se fusiona con lo que se experimenta como «arena». La mano permite que más y más arena gotee sobre el altavoz hasta que el cono ya no sea visible. El timbre de la voz crepita y queda radicalmente apagado. Cuando el orador está completamente enterrado, la voz suena distante pero notablemente clara”.

de https://proyector.info/profile/gary-hill-mediations/

• Ana Mendieta
• Sara Minter
• Chantal Akerman

Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles

• Joao Gusmao & Pedro Paiva'
• Tacita Dean
• Christoph Girardet
• Camille Henrot(grosse fatigue)
• Ismail Bahri

"FOYER"

Kate's notes

About this "hybrid" writing, what do I mean

• Could you be more specific here? What genres or forms or styles or languages does it combine? A list. a poem?

About the structure

• There is potentially room for breaking it up into small parts, and playing with the structure of the thesis a little further -- so that you don't feel tied to the classical structure of "this is what I am about to do" / "here I am doing it". We can discuss this!

About la infiltrada

• Record this

About chapter 1

• This criterion of "almost serious" feels important! Would you consider it a feature of your own aesthetics? singing out the language of the office, seriously, not seriously, semi-seriously.
• What kind of potency or disruptive power does the "almost serious" have?

• Very much enjoying this repetition "not that much"...

• I think here or above it is important to say something about the purpose and politics of description (as we discussed). How simply (or not so simply) describing these actions matters, how describing them brings them into the realm of the visible, the imaginable, the intelligible. It takes them out of the sphere of the capitalist workspace and puts them somewhere else -- into the ream of material? of art-making? Using your unpaid time to describe them here feels very meaningful, and potentially a form of resistance...

About chapter 2

• Also, related to the above, it is not easy to describe well. (...) again the almost serious!

• I'm interested in what these ellipses are doing here!

• I think there is room to be even more detailed in terms of the conditions: what was your contract in each case? How much did you earn?

Also, as we discussed -- and this will be the next steps -- it will be wonderful to read you reflect on these experiences and draw out how they connect with or inform your practice. For example, the complicity you felt with Moha feels important -- these alliances that form within unlikely environments, the way you established an alternative value system of care and mutual respect within a very charged and formal institutional setting...

Alternative value systems

me hace pensar en la charla con Javi, pequeños gestos de resistencia, resistencias frente a la realidad, revanchas

pueden ser los gestos absurdos y los gestos de amor, de comunidad

What kind of knowledge does the infiltrada have?

* what do I expect from an art work (to specify in written, encompassing

* the metadiscussion about work, what does it mean to think about work without working/working in the arts/is working in the arts working?

March 2024

MM la infiltrada

MM crear con lo puesto

MM Garabatear

MM the almost-song

MM mirar de reojo

MM Just talk

MM la nombradora

Commentos before the draft

Placebo excerpts Saskia Olde Wolbers https://vimeo.com/34372644

What is it the prosthesis space

The addition of something

What happens to the word happens to the body

Redundant I’ve been redundant in those conversations.

Corporate language about redundancy

The idea of prosthetics.

Extending metaphor which spaces everything is in flux

What kind of space is your metaphor inhabiting

A visual manifest.

Maintaining control over a metaphor.

MM Not to work on something but being with something

En las roles de poder que se articulan a través de la palabra y su ausencia.

Mediante de descripciones de los lugares de trabajo como.

Una cosa es que lo digas y otra que te regodees diciéndolo.

En la pronunciación de las palabras y las sílabas.

Esos discursos que inciden en la épica que da nombrar lo remoto.

Notes

Vidala del nombrador

I'm this, I'm that; I'm sharp, I'm flat;

I'm young, I'm old; I'm hot, I'm cold;

I'm right, I'm wrong; I'm weak, I'm strong;

I'm high, I'm low; I'm fast, I'm slow;

I'm here, I'm there; I'm foul, I'm fair;

I'm bold, I'm shy; I'm wet, I'm dry;

I'm good, I'm bad; I'm gay, I'm sad;

I'm lost, I'm found; I'm free, I'm bound;

I'm best, I'm worst; I'm blessed, I'm cursed;

I'm false, I'm true; I'm I, I'm you!

Writing

Some notes

About this "hybrid" writing, what do I mean

About the structure

About chapter 1

About chapter 2

* Indiciar e Indexar

* Taking the floor

* La maquina que domina y la maquina que emancipa (Remedios)

• QUE HAY DE PARECIDO EN PARQUEDADES Y MEDIATIONS Y TAMBIEN EN FICTIONS (ARCHIVE) APICHATPONG

Cuanto más hablo sobre lo que está sucediendo, más cambia, o retroalimenta, el movimiento y los patrones de la arena.

Precarity: where critical thinking takes place - and Purpose and politics of description

Descriptions

Describing these actions matters,

how describing them brings them into the realm of the visible,

the imaginable, the intelligible.

It takes them out of the sphere of the capitalist workspace and puts them somewhere else --

into the ream of material?

of art-making?

• Description is an art (Steve)

• 0 TWO PLACES Description of the work place

• 1 SCREEN SPACE 2021 > OCTOBER > MODEL > WOMAN > SDEFC > CARINE

• 2 SCREEN SPACE Qué es lo que se ve en la imagen. Ok, vale.

• sistema de valor alternativo

Notes

Kate's reflections:

 It might be useful to imagine addressing your Project that May Or May Not Be Made to a reader who is not yet familiar with your practice -- like me! or Marloes! This may help you to remember to spell out what (to you) might feel obvious, but it is actually very important. Useful information such as: how much archival material do you already have? Where is the site you imagine shooting and have you already visited it? Essential, basic Information that your fellow artists and tutors may  already know, but a new reader doesn't yet...
   
   As you imagine your projects (which may or may not be made) and set out your choices, you may also want to start phrasing the questions you expect your project will raise -- practical questions, aesthetic questions, conceptual questions. Questions that you don't know the answer to yet, but you can already sense that undertaking the project will ask you to reckon with... They might be phrased like this:
       
       What does it mean [for me] to...? [for example, work with my family archive ... / develop a new aesthetic / collaborate ]?

Resources for finding references, sources and texts

• https://pzwiki.wdka.nl/mediadesign/Second_Readers_Guidelines
• Databases, newspapers, magazines and libraries you have access to via Hogeschool Rotterdam (from ACM to Zenodo, via Follow the Money, ScienceDirect, Taylor and Francis, Statista and more): https://www.hogeschoolrotterdam.nl/voorlichting/begeleiding-en-voorzieningen/mediatheek/informatiebronnen/databases/
• JSTOR, collections Arts & Sciences I t/m X en Life Sciences: https://hr.idm.oclc.org/login?url=https://www.jstor.org/
• Monoskop: https://monoskop.org
• Monoskop's shadow libraries listing: https://monoskop.org/Shadow_libraries (including links to scihub, libgen, memory of the world, etc.)
• The Bootleg Library (if it is up): https://hub.xpub.nl/bootleglibrary/