BlogArt-weed
begins where it began
to
go to its sprouting present click
day-1
2003
/ before bastille day
weed du jour:
"political Art"(?)
to be or not to
now that ideology
fairies have publicly cut their hair and wings, who are we to blame
for when content vacuums itself into a proliferation of predestined
disposable forms competing for elite ranking? content, with or without,
pertains to the realm of ideas and they have an ingrained tendency
to cluster themselves in systems / logics of derived sense carrying
needs and purposes of all kinds of shades above and bellow recognizable
and agreed upon laws. wasn't coca-cola a well planned all-encompassing
campaign of mass dependency that stamped the US dollar-flag in the
neck of every child to be born on this planet an extended musical
that captured the earliest visions of globalization? and, now that
we drink organic soy chai from cartons while imagining virtual guerrilla
to undo media monominded monopoly, it becomes obvious to me the
fairies have gone corporate.
well, soul searching and pickpocketing
may be the 2-sided coin of a post-conceptual strategy towards art-making
not only coming from the "margins", but as the well revived
brazilian flash of "cultural cannibalism / antropofagia cultural"
announced back in the twenties of last century, poetic emotions
--or perhaps even emotions in general-- have slippery "reasons"
and a famine intelligence, that submit to no borders, orthodoxy
nor extraneous specifications; always ready to bite any forbidden
fruit in any given time or context. thus academic discourse, evrydaylifebiz
and politics are only relevant when leaning over strict dictates
of power currency to flow into or at least sense the fuzzy image
of the unknown and smile at the fortuity of fixed standards and
prizes. capitalism is actually based on this observation and gives
the last word to the flux of markets, but we also know that it has
created dictatorships, imperialist supremacists agendas past, post
and hyper, corporate mafias and armies white & blue collar and
whatever necessary to "assure" the impunity of global
unbalance.
art-making is an industry of communication
research and dynamic integral re/de/signification activities that
does not need to fit into the lost crystal high-hill to go dancing.
therefore generally reaching its best when not stranded from the
fuel of a poetic heart. now, whatever happened to "freedom,
equality and fraternity?"
talk to you later...
day-2
2003
/ bastille day 9:16 AM . Kaliland
weed du jour:
"money, money
money..." to have it or not to Art?
so my first internet
transaction was a $10.00 dollars donation to the bush impeatchment
campaign. i didn't sink and next i bought pagemill 3.0 on e-bay
which came with webpainter 3 both over-obsolets but the latter became
by fate the tool with what i made my first
animation, practically blindfolded as far as knowing where-to-click-for-what.
capitalism is so ludic... and now that i'm not an e-shopper virgen
anymore i find myself expecting for a delivery from atlantic exchange
of 13, 10 sheet packets of iron transfer paper to be utilized as
part of materials for the 6th version of the 'nomadic anthology
of objects' project in lahore pakistan. the total was $158.44
including shipping. i'm just realizing i could have had it mailed
directly to lahore, to farida's house.
farida syeda
is my collaborator for the project in lahore. she is presumably
the first female art historian of that country according to a statement
by nilofar akmut, a highly critical and commited contemporary
pakistani artist lately living in dubai, who was my first connection
to lahore and the generator of a series of foreign artists, independent
grassroot type of exhibits, within which my project is in the works.
so for those who only see or aim at the tip of the iceberg, get
this:
"... In an
Islamic context art should not exist. But, it does. How does one
negotiate it is the question ?
In a Militaristic state and the
repeated failure of democratically elected governments again we
are forced not to raise our voice without facing its repurcussions.
Unfortunately, for them voices are bound to be raised, questions
to be asked."
and nilofar, who has stated her
commitment to work within the islamic realm, is not only asking
questions but attempting to pour into the culture of her early formation
by fate of the historical partition of india and her family forced
exile into pakistan back in 1947, alternative knowledges about the
human experience through art works by artists from outside pakistan
as a way to directly exercise that which is forcefully denayed to
people who for the most part, particularly for women, feel trapped
in their own world. in the same email of april 02 she says to me:
"...Art is confined to living
room contexts there still largely and is a saleable commodity largely
as well.
installation
art is still an unkown factor. They still look to the West for their
debate, what the relevance is I don't quite understand. Except for
the fact that we were colonized and little or no work is addressed
around the issue. Issue based worked virtually does not exist."
nilofar is well aware of the risks
and power of her artistic identity. in 1997 she conceived and organized
"between the visible and invisible" lahore international
arts workshop at the national college of arts of which nilofar
was a former student,
so being an e-shopper, emailer-self and web-surfer amateur can map
you out of whatever your entrapment might be and give you, if your
sailing does have clear aim, some grasp at participating in the
expantion of realities, not just virtually.
day-3
2003
/ july 15///
weed du jour:
"there really
is a man inside the screen..." to believe or not to is irrelevant
i got the transfer
paper. and i just realized i could have had it shipped directly
to lahore. the puzzle pieces are beggining to clasp. an art project
is like tracing a treasure map with a few known elements and a few
more as functional and nominal variables to be given away through
the process.
day-4
2003
/ july 18///
weed du jour:
"memoria de
ausencias..." to time-space from nothing to matter or not to
touch
death is a strange
type of silence, like a sea that does not move, a huge parragraph
of sameness. irreverseable absence makes you deaf and is not the
end, only lessened lessness that makes you wonder about the fragile
hiss of life //independently willed.
day-5
2003
/ july 21///
weed du jour:
"gggg"
multiple of 7
day-6
2003
/ august 26
weed du jour:
"to blinck at
60,000 years or blind at our own celestial minuteness..."
if life as universal fenomenon --human and not--
is elliptical spiral and we grow backwards to a new version of beginning,
taking in consideration the statistical decay of human matter, my
life is reaching the opposite curve of birth, the one that allows
a good perspective of the traces and makes you reconsider the whole
journey...
inevitable it seems to feel unfree in the considerations
of freedom / the light travels eternally eternal darkness / arriving
in continuous instances everywhere with or without necesary display
or witnesing / there is a history of words from inumerable languages
emulating knowledge with it / but light in excess can kill sight
and ambition too.
day-7
2003
/ august 27
weed du jour:
"to be or not
to talk..."
i am either with
words or without them...
day-8
2003
/ august 28
weed du jour:
"relevance as
applicable to given context or apropos of sttings and background"
to be or to be not in the picture...
look around at the
stop sign and sense the senseless. the edge crawls in, white smoke
like fade devouring the street and its content. necks unfortunate
and otherwise, shining the noon shine of weekly or daily california.
the seconds eternal in display of an emptied episode. the spiritual
pollution is evident, mordant and continuous. page must be turned
fast. green light.
day-9
2003
/ august 30
weed du jour:
"fact-art /
lived-fact" to be and to perform...
was thinking about an act that would express the
state of the soul, yes, not afraid of dropping my coins into the
old dramatic strategy of universalizing existencial feelings. art
is always truth and fiction anyway, so, granted too must be the
plunge into any predicament that would spear the emergence of intensity
and amusement, even when classically predictable. searching for
the most effective way to be present in the present of the feeling,
inevitably affected by everything around like a very light feather
is affected by the slightest movements of the air, but with a constant
connection to the power of an image that yet is not and remains
as such through the entire event.
day-10
2003
/ september 5///
weed du jour:
"to be or ..."
was thin
day-11
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