I’ve spent the rest of the afternoon experimenting with the paper cut outs of what looks like basic shapes, but is the interior map of the rooms of my apartment. Following the experimentation, I think I ought to follow the idea of using geometric shapes of whole floor plans instead of rooms.

 

I got the shape cut outs slightly wrong, however it doesn’t affect the experiment too much because the idea is the same: I’m rearranging shapes in a different order.


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Prior to the online Tate Talk of Mikhail Karikis chaired by Jonathan Harris, art historian and head of the Birmingham School of Art, I researched Karikis. One of his works stood out to me. The Chalk Factory (2017), based in a factory in Japan, Karikis was inspired by the protests of the workers over the dismissal of 2 teenagers with learning disabilities from the site. The work stood out to me because I work part-time in a place that manufactures products and delivers them to supermarkets around the country. I’m interested in how other workers are portrayed in different continents with similar types of jobs.

The Chalk Factorywww.vimeo.com/239142091

I found the thematic of The Chalk Factory similar to Cao Fei’s Whose Utopia (2006), based at a factory in China. Both the works connect with the quote from Karikis’ website, ‘Potential to imagine possible/desired futures of self determination and potency.’ The works both push towards making these workplaces a better place, a place that values inclusion, and giving back power to the workers, including the alienated workers and workers with disabilities.

Excerpt of Whose Utopiawww.vimeo.com/412341500

Karikis’ practice however, is very different from my own practice because he mainly collaborates with others and has an established social practice.


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I was thinking about what Burens wrote about studio-gallery/museum systems and what was discussed in the seminar about the system being analogous to factories – both a zone of production. The meaning of the artworks are lost when transported to a gallery/museum context from a studio, so I came up with a versatile idea that would make the work stay integral in different settings indoors (I haven’t thought of outside spaces yet). I could start by drawing interior plans/shapes of architectural spaces. Firstly my apartment, then the studio space next Wednesday, then art galleries and museums. Then start making the plan of interior spaces into 3D shapes a few weeks from now using the wood workshop. It would be interesting to make these ideas out of galleries and museums and then show them there because the shape of the 3D model is site specific: the individual work only makes the most sense if it’s in that specific location.


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I’ve read the introduction of In / Different Spaces by Victor Burgin. There was a mention of Henri Lefebvre. the theoretician wrote The Production of Space, which was leading to the objects and methods of psychoanalysis. Then I read an online journal article about Lefebvre on jstor, it was called  A Marx for Our Time: Henri Lefebvre and the Production of Space by M. Gottdiener. I was surprised to learn that in the book, Lefebvre related space to commodities: the material aspects of production.

 


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