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BlogArt-weed begins where it began to go to its sprouting present click day-1 2003
/ before bastille day "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 "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,
day-3 2003
/ july 15/// "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/// "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/// "gggg" multiple of 7 day-6 2003
/ august 26 "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 "to be or not to talk..." i am either with words or without them... day-8 2003
/ august 28 "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 "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/// "to be or ..." was thin day-11
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Sp i c e r i e/the fizz factor & other mind booster
send
Artwork to space
"…suspend judgement long enough to test the facts and at least consider alternative explanations." 8/28/03 swiveling fragment of lost authorship.
a
cool ripen fig 8/30/03 g.o.
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