User:10000BL/Tutorial notes teachers

De film over nummer 39 speelt zich af op meerdere niveaus. Niveau 1 gaat over de originele aanleiding tussen Gordon en de Chinese deelnemer. Niveau 2 gaat over mijn vader en zijn geschiedenis als kok. Niveau 3 gaat over mij, de relatie die ik heb met Nr.39 en mijn vader.

Ine

Persoonlijk investment
2 cirkels met lichte overlap, voornamelijk aparte werelden.
Atelier van Lieshout, eigen staat, AVL
Transcendente object, andere betekenis overbrengen.
Circulair
Verbinding, moment van samen - helig huisje, bidden.

LOOK UP: Trojan Horse - Belatar(?), elke dag zelfde eten (aardappel), scene uit film

Performance live: Hoe? Opzet lampen, voyeur, er naar kijken, de recordings als final work. Is het een vaste performance/rigide of leeft het?
Moment creeren, wat je nodig hebt, de ingredienten, cureren (inhoudelijk + visueel).
Voorstellen maken en uitdenken + uitvoeren. Ervaren hoe het werkt.

*Welke werken zijn er nu?

Vader film
A) 3-luik performance, B) making off, C) Live dans performance, D) live footage dance performance
Tafelgesprek video
Foto-series (verschillend? Overeenkomst?)
Sculpturen: A)Eten van vader, B) Nr.39 uit restaurants
Samen eten met bezoekers, gathering, event, experience
Menukaarten
Website Nr.39 - interactief

Doordenken van idee naar muur/presentatie. Uitkomst van verlengde van idee. Lichtbak misschien te ver af.
In kaart brengen van de plekken, je laat de tafel zien.
Audio? Hoe gebruiken?
Persoonlijk = illustratie vs uit het persoon & in het persoon

Steve

Tut 1

Michael "Mike" Nelson (born 20 August 1967) is a contemporary British installation artist. He represented Britain at the Venice Biennale in 2011. Nelson's installations always only exist for the time period of the exhibition which they were made for. They are extended labyrinths, which the viewer is free to find their own way through, and in which the locations of the exit and entrance are often difficult to determine. His "The Deliverance and the Patience" in a former brewery on the Giudecca was in the 2001 Venice Biennale.[2] In September 2007, his exhibition A Psychic Vacuum was held in the old Essex Street Market, New York.[3] Essays on Nelson's projects, '24A Orwell Street King's Cross Sydney'[4] and 'The Deliverance and the Patience'[5] have been written by artist/curator Richard Grayson.

His major installation The Coral Reef (2000), was on display at Tate Britain until the end of 2011. It consists of fifteen rooms and a warren of corridors. This work and its showing at Matt's Gallery earned him his 2001 Turner Prize nomination.

Tut 2

Peter Greenway - Delicatesse (movie) - description
Ratatouille
Babette's fest
Chocolat
Dinner as a machine - speed up 'movies'---> the pace of the film is fast. In silent movies.
Thesis:
Immigrants
Food & Movies
Descriptions of work
Table manners

Brad Pitt & George Clooney - Food to give them purpose/gesture.

Tut 3

Tips van Ruben?
Oldenburg, veelzijdig
Segal
Dwain Hansen
Wesselmann - relief werk
Marcel Duchamp
Man Ray

Amy Web - How I hacked dating online.

Michael

HOW TO PRESENT YOUR WORK? Maybe think of screens floating in the space and that can become a combination when seen from different angles. So 2 sperately placed screens become one screen if seen at a certain position.
Wiels - Vincent Mass/Meesen
Farooki - multiscreen, Brick laying ---> Nice!
FOAM - Brussels - Project with cooking and seminars. Chef vs audience. Audience can join cooking/performance.
'Tension', food and lecture become one, natural flow of helping, chopping, food is ready when lecture is open.

Femke

Tut 1

Your work as a constellation. Everything is related and connected.
I'm a tree
Video vs sculpture
Triangle: father vs me vs sculpture.
Produceren vs reproduceren
Echt vs nep
Niet thuis horen in restaurant is belangrijk ---> zit deels in keramiek werk
cultuur-clash

*CONSTELATION!!! van elementen, benoemen!

BOOK: The practise of everyday life - Koken, hoe geacht te koken.
Eetbaar vs niet eetbaar
vader vs ik
Nep vs echt, hoe verhoudt een nep gerecht zich tot de echte versie.
Verschil, overeenkomst, familie, cultuur.

Tut 2

Onhygiene door de handen is fijn, doorbreekt symboliek van doorgeven.
Koken als een gespiegelde manier bij mij.
Praktijken (vader en ik) komen bij elkaar, niet in functie.
Ik ben de regisseur in mijn werk, net als dat mijn vader dat is in de keuken.
Making off performance en gesprek tafel gaan goed samen.
Bang? ---> Wat betekent dat? Ongemak? Spanning/pijn?
Ontwikkeling cultuur, overbrenging
Ik als maker kan zichtbaarder! Kan als sculptuur of door de making of video van performance. Ben ik gerust op mijn rol als maker? Aarzel ik bijvoorbeeld in sculptuur of moet het iets anders worden?
Concept op papier is veranderd en dat is logisch of kan logisch zijn.

*Beslissing: Sculptuur J/N? Afmaken videos. Dan weet je wat je nog niet doen of wat er nog ontbreekt!

David

This American life - speaking, Chinese learning. American guy that learns Chinese from TV.

Political vs auto-bio
How to turn it back to Gordon? Specifically?
Fetism ---> Hands/food
Transfer & Symbolism
Stay in realm of Gordon or? (think of constallation, every dot is connected, but what is the central dot called? ---> Gordon or something else?
Separation of the works vs 1 project
Political statement by cooking and transfer food = ideals
Western view of Chinese food is 'plastic'(?).
Carrots - History of orange carrots!
Personal relationship (with my parents) is conveyed through the interview
Gordon (prejudice, miss comm.) vs Me (parental relationship, craftmanship, personal story)
Why sculptures not photos
Silicon is all about fake
Cultural clash: Prcelain vs Silicone
History of Orange carrot, carrots are actually or originally purple. Orange is muted. Orange House, color of the Nation. So the crafting of a orange carrot by my father is a huge gesture/symbolic. Political.
De Rijke & de Roy - orangeroom - Bienale. Projected lists of orange(?)
Guantanamo
NL vs CH: Bollenveld van rozen gecarft uit wortels. Bollenveld is gordon(?)
Not activist pol. statement. Het is een humanist pol. statement.

In my opinion the work is hopefully going to cover a range of the spectrum Nr. 39 with on the one end personal/video & work with family and on the other non-personal/Gordon. The videoworks are more close to personal angle, same as the sculptures that can be seen as a hommage to my father/parents. The photo series of Nr. 39 for example are more towards the event with Gordon.

Cultural exchange can be a topic on itself. (transfer video). That methaphor/manner. if I free myself from Gordon, can give me more freedom.
Freedom or not? What do I have to address when Gordon is part of the project? And what when I am more free?

Barend

Zijn de sculpturen een schets voor later of het werk opzich? ---> Cristo schetsen

Aymeric

Methaphor: The bun can contains everything
Good looking fake food vs really fake food, esthetic
Development of the food reproduction - steps
Competition food making show - Japan - link in mailbox.
Chemicals vs real
Home situation, rupture
Leaving/abandon vs giving
acting (story construction) vs document (estically how it looks/works)
Live moment
Surprise twofold - simple vs complex of parents
Live performance: to artifical or is it me?
Consider the final work more live because of the richness. Specific aspect of work that can not be captured - so live! If not live afraid for flat image, the way of showing makes it flat/static.
Possible exploration of exhibiting in TENT
Try with monitors!
Is titi aanwezig? Rede!

Picknick table installation, concern how can it be Chinese?! Does it go together? Picknick is more a Western thing and deals with bread, sandwiches and BBQ.
One number (39), diversity? What does it show? What is my position?
Type of restaurants:

Real vs non-real
Chinese vs non-chinese/adjusted---> I belong more here as a person, politics

Real food (father) vs Fake (sculptures)
real food - cultural mixed
Live events
Personal
Cultural mix
Problem of how to re-make the complex dish of my father? Solution is to ask him to cook something easy, like buns.

*Reforce/Recharge ---> But then you also need to change the video.

Dutch don't have food culture, contradicts with Chinese culture
Food more than sustanance
If the concept of TASTE is important, why only Chinese food then? And not about taste of other cultures? This should be clear for you.
Spectrum of Chinese food is big/wide. It goes horizontal, has many flavours and is not afraid to combine their kitchen with other kitchens.
Japanese food is more vertical, one thing very good (Sushi).

Integration vs assimilation
Opportunities/business
What does it say to you? This taste, these food coming to you? Cultural Identity, life.
France --> North Africa a lot of people from ---> Many interaction/reactions with these people in food and culture (maybe also now the problems in French society).
Mixing of cultures/food/mediator ---> How to combine with taste?

*Universal vs singualr!!! Explore and how life food can be part of the project. Make it sharp is the challenge. *Meeting point universal processes of cultural propiation in food culture. How it overlaps. Singular of cultural identity. How these processes not only with object (menu) but also with people (me). Look at every object and what it is. The relation, does it fit? No? ---> Than move away from it (for example taste).

Random Notes

Wim Wenders - Tokyo Ga
Araki - The banquest
Becher
Bad food, gone worse
Hans Eijkelboom
Joachim Schmidt
Chantal Akerman
Sophie Calle
Mathew Barney - Cremaster I, II, III and drawing in constrains
Suisse Fondue - political dish - to share!
Roland Barthes - Empire of science(?). Experience of food in Japan in comparison to Europe. Chopstick vs cutlerly
Pizza = food for the poor, Schnitzel = food for the rich. At the start, schnitzel was made with gold flakes (now with bread crums).

Mette Samkalden: Sietske van Zanten - Nathalie Hartjes kent haar goed via Nieuwe vide - Haarlem. Consumptie museum van Dirk---> Lisse art museum. Van der Broek foundation.

Films

Babette's feast
Le grand Buffet
Delicatesse - Peter Greenway
Chocolate
Ratatouille