Fraudulent Activities
It is a precipice
of humanity’s destruction
of potential.
There are consequences
of existential risk –
of existential catastrophe
It could be
extinction,
unrecoverable collapse,
or permanent dystopia.
Augmented Body in the Landscape, by Adrian Wood
The workshop Augmented Body in the Landscape aims to develop new pathways to experience the relationship between our bodies and the places we inhabit, and the ways that technology changes that relationship.
The participating artists chose from several sensing technologies: a stethoscope, a thermometer, a field recorder, a scent cone, and binoculars.
Each technology extends parts of the body that offer us sensory feedback — ears, eyes, nose, fingers (for touching). The participants explore the area using the technologies. They bring observations back into the studio, which they process through a series of language- and gesture-based prompts.
They then synthesize what they have generated – observations, gestures, language and sensory experience – to create a site-based embodied performance.
Augmented Body in the Landscape was created in collaboration with students of Katie Schetlick’s “Performing the Environment(s)” class at the University of Virginia on March 14, 2023.
Thorax Glissando (2023), by Nico Parlevliet
HD-video with sound, 01’34 min.
Please watch fullscreen
Thorax Glissando is based partly on an audio recording of a past work (Glissando Arioso-2012) and partly on an image-recording of the present moment.
Actually, the current image is what prompted me to search my sound archive for audio that would enhance that image.
After much thought, I decided to use the CT scans, which were made to monitor the cancer in my body, as images. With this, I try to bend the drama in such a way that you get the idea that anything that depicts a process can contain beauty.
Nico Parlevliet
20 Feb 2023
From the window on Zandera with Tunicata (2023), by Andrei Monastyrski
2023 11 февраля Из окна на Цандера с оболочниками
HD-video with sound, 76’51 min.
Since 2001 I have been making a series of videos called
From the window on Zandera. This video is number 129.
This footage comes from the apartment where the performances of the Moscow-based group Collective Action (KD) were conceived and prepared from 1977 to 2009.
The figurines of appearing and disappearing passers-by on the sidewalks of this Kondratyuk Street are like an endless continuation of the first action of the Collective Action.
Timeline:
00:00 – in the kitchen at Ulansky tracking the 585 bus sign
04:16 – 5, 59 km to Zandera street
05:10 – Photos of the high-rise shit-concrete on Godovikova street
10:35 The 585 badge went into the line of sight out the window at Zandera.
12:05 – Щ
28:32 – 1989 video, AM reading about shells at VDNH, video of SH
32:23 – 55
49:36 – AM reading about shellfish in the kitchen at Ulansky 11-2-2023
01:04:08 – Johannes Bach (1604-1673), IS Bach’s great-uncle, motet “Our Life, is like a shadow.” Unser Leben ist ein schatten.
01:10:52 – О
1st action of the Collective Action (March 13, 1976)
The Battle, by Jan Barel
SD-video, with sound,
0:55 min.
The battle
Tin toy battle, driven by hand, while the sun sets.
(and the beating goes on, ladedadeda)
They shoot horses, don’t they?, by Pepe Romero
HD-video with sound, 03’03 min.
Please watch fullscreen
Excerpt from an article published on November 10, 2022, in El País, by Slavoj Zizek:
“Russian President Vladimir Putin has escalated his threat to use nuclear weapons.
…15,000 Ukrainians have responded to the prospect of annihilation in a less abstract way: by signing up for a massive sex party.
…It’s the opposite of despair. People will look for something good even in the worst-case scenario.
…In a time of extreme distress, an orgy can be a life-affirming project. Collective trauma precipitates the disintegration of individual inhibitions and conventional social norms”.
The first World War started on August 1, 1914.
On October 7, Ludwig Wittgenstein, in charge of night driving the search-light of the Goplana, a ship patrolling the left bank of the Vistula River, wrote:
“I may die within an hour,
I may die within two hours,
I may die within a month or within a few years.
I cannot know, and I can do nothing either for or against it: such is life.
How am I to live, therefore, in order to succeed at every moment?
Live in the good and the beautiful until life ends by itself”.
Quote from the book edited by Wilhelm Baum “Geheime Tagebücher” published in spanish by Alianza Editorial.
Seed & Crawl, by John G. Boehme
SD-video with sound
13:10 min.
The physicality of a colourless bearded, compressed & truncated male image spreads the discarded seed shells directly at the viewer while the colourful crawlers’ cascade down his grey visage.
“What interests me is the ongoing reformulation of a set of key interests. These interests are drawn from my observations of Western society’s less-considered compulsions. Exploring the performance of gender, specifically masculinity, the valorization of labour, the pursuit of leisure, and the marshalling of amity. I explore language and paralanguage, that is, both the spoken and gestural aspects of human communication”.
johngboehme.weebly.com
I’ve got to go to the Studio, by David Sherry
HD-video with sound,
03:07 min.
“You have things to do, in the studio.
You are the CEO, Marketing Executive, Captain of ideas and Head of strategy. The opportunities are boundless now you have some decent snacks and a tin of sardines for lunch. Marcel Duchamp said the Studio was a place to breathe. Some call it the office, others go there to get away from work. Museums rebuild famous ones. In yours, you develop a branch of utterly pointless philosophy. You have failed to tick-off the practical jobs for today but formed a whole new list of useless tasks for tomorrow”.
I’ve got to go to the studio was first performed at Alchemy Glasgow for G20 Artist Collective 2022.
Another work by David Sherry on the-artificial:
No question, one of my favourite art works, if not my absolute favourite
Bamboo Inhabitant, by KIMVI
performance film stills
“Entering a site where I am both foreigner and foreign, the intention lies in building a holistic cross-cultural bridge between the local villagers, the spaces and ecosystems they inhabit, and myself as an artist. Through a sensitive observation, experiencing rural China and the natural environment, I am forming the basis for initial encounters. The different uses of bamboo by the locals invite me to explore the relationship between the body and architecture through performative actions. The trajectories of everyday movements become the directions to understand the artist’s place in the space she is occupying. These performances evolve through the time spent in this new context. The artist, the bamboo, and the artist’s clothing, seemingly merge in an ever-changing series of architectural silhouettes. A vernacular dialogue emerged, and processing the everyday observations helped discover this place’s characteristics. This vernacular approach enables me to relate on a more comfortable and personal level, guiding me to understand the culture of the people and their context, in which the domestic and the functional is above the public or monumental”.
KIMVI is a British Performance Artist and a Lecturer in the Department of Architecture Design at Xi’an Jiaotong-Liverpool University, Suzhou. China.
The performance, Bamboo Inhabitant, took place inside the Lucitopia Creative Centre, located in Zixi Valley, Jiangxi Province, in Southern China, as part of C- Platform eight weeks artist-in-residence. The project is sponsored by Lucitopia Residency Xi Art Museum Generative Project.
Reconfiguration of Refound Images, by Max Wyse
“These gifs are amongst a small number of moving image files that I created in 2014-2015 out of a series of smartphone collages that remained forgotten in the depths of a hard drive, until I decided to revisit them in my ongoing if not sporadic exploration of the medium which I conduct in parallel to working on paper”.
Click on an image to activate it.