“Grief is a most peculiar thing; we’re so helpless in the face of it. It’s like a window that will simply open of its own accord. The room grows cold and we can do nothing but shiver… But it opens a little less each time, and a little less; and one day we wonder what has become of it.”—Memoirs of a Geisha (via real-hiphophead)
THE NEW DISEASE CAME. I LEARN THAT TIME DOES NOT HEAL. EVERYTHING GETS WORSE WITH DAYS. I HAVE SPOTS LIKE A DOG. I COUGH AND CANNOT TURN MY HEAD. I CONSIDER SLEEPING WITH PEOPLE I DO NOT LIKE. I NEED TO LIE BACK TO FRONT WITH SOMEONE WHO ADORES ME. I WILL THINK MORE BEFORE I CANNOT. I LOVE MY MIND WHEN IT IS FUCKING THE CRACKS OF EVENTS. I WANT TO TELL YOU WHAT I KNOW IN CASE IT IS OF USE. I WANT TO GO TO THE FUTURE PLEASE.
“Today the individual has become the highest form, and the greatest bane, of artistic creation. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other’s eyes and yet deny each other’s existence. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster’s whim and the purest ideal.”—Ingmar Bergman. (via shanakht)
Our body is not in space like things; it inhabits or haunts space. It applies itself to space like a hand to an instrument, and when we wish to move about we do not move the body as we move an object. We transport it without instruments as if by magic, since it is ours and because through it we have direct access to space. For us the body is much more than an instrument or a means; it is our expression in the world, the visible form of our intentions. Even our most secret affective movements, those most deeply tied to the humoral infrastructure, help to shape our perception of things.
In 2006-2007 Candy Chang received a fellowship to work with the Spatial Information Design Lab (SIDL) in New Orleans. Working with community groups and charter schools in the Seventh Ward, Central City, and Broadmoor neighborhoods, as well as SIDL’s directors Laura Kurgan and Sarah Williams and fellows Andrew Colopy, Derek Lindner, Leah Meisterlin, and Julia Molloy, they developed Million Dollar Blocks, an SIDL project that uses prison expenditure maps to examine changes in the way money is invested in communities.
More than 2 million people are in jails and prisons in the U.S., and Louisiana has the highest incarceration rate in the world. In many places the concentration is so dense that the government spends over a million dollars per year to imprison residents of a single city block. At the same time, communities are continuously struggling to get funding for civic services like youth programs, job training, and peer support that would provide more opportunities for residents and prevent a life towards crime. These maps provide the case that money is available if used in better ways. They worked with a justice reinvestment network of local organizations, including Cafe Reconcile, Safe Streets/Strong Communities and the Juvenile Justice Project of Louisiana, to help establish local pilot projects for job training, health services, and mentorship programs supported by justice reinvestment funding.
“Adham Faramawy is an artist who explores changes in perception brought about by the digital age. For this exhibition the artist poses questions around media consumption and the persuasive potential of advertising to reflect and reproduce images of ‘well being’.
Across a landscape of high definition flat screens and sculptural wall and floor works, bodies flex, exhale, and exfoliate to the sedative tone of synthesized audio. Manipulated digitally, where tactile surface interplays between liquid planes, Faramawy shoots staged live performers often using his smart phone, a device, which is symptomatic of a contemporary syndrome of immediacy. Interested in erasing the boundaries of production and presentation the artist accelerates the speed at which live footage can meet the digital screen allowing it to be mediated by the mechanisms of the more familiar filter through which we visualize and conceptualize. Routines of banal choreographed workouts and rejuvenating skin treatments are played out, one on one and up close to the screen, performers often neoprene clad or waxed and polished naked. Carefully staged where human exchange can be computer-mediated, these subjects carry with them the isolated remoteness of the online experience.
For Hydra water is constructed as a luxury product and is abundant. Digital pixels and meditative sound sublimate water into a fetishized fluid counterpart, heightening it’s potential to heal and regenerate thus playing into the increasing anxiety over it’s potential scarcity. Points of hydration or drowning are continuous dichotomies throughout the new body of work, either by performers constantly feeding an unquenchable thirst by drinking water from plastic bottles in post-rave thirst aftermath, or by the animated image dissolving into digitized rippling screens.
As with previous presentations Faramawy will present a series of 3D and 2D works; leaning digital flat screens and cuboid podiums will occupy the space. Paint and pixel oscillate, with surfaces counterpoising colour schemes that reproduce screensaver gradients, proxies for the digital treatment of live footage. Despite the self-containment of wall and video work the question of which section is ascendant – which is background and which is foreground is open-ended. The artist draws us into an examination of formal points of contact between the physical and non-physical, directing us towards aesthetic histories to bring subjectivity and primacy of experience to the fore. All works are bound together in a sealed world, each requiring the other, their liquid relationship to be read as flowing and symbiotic.”