… things that happen to the body,
things that can’t be undone

excerpted from TATEetc > Microtate – reflections on a work from the Tate collection:

Tim Etchells on John Coplans’s Self-Portrait (Torso, Front), 1984
It’s the texture of the skin that summons a number of things. Memory of my grandfather, hooked up to an oxygen cylinder in the front room of the prefab bungalow, Alvaston, near Derby, 1980-something. His hands. Neck. Face. My brother’s hands too, which I always think look older than mine, even though he’s younger. But he’s worked outdoors most of this past twenty years and his hands have lived a different life from mine. Marked.
John Coplan, Self Portrait Torso, 1974
Weathered, where mine stayed pretty much soft – computer keyboard fingers. Despite that, looking at this detail it’s also my own skin that I think of. The realisation I had at age 21 that this skin is not invulnerable – that it can be damaged, changed, altered forever. That

no comments Filed Under: art, perception, performativity

… and move on: an outlook on
Out of Context by Les Ballets C de la B

To start 2010 with some move forward .. what could be better in this context than Alain Platel’s Out of Context, which I already had the luck to see in an excerpt at the Tanzkongress 2009, which took place in Hamburg under the nicely ambiguous title “No Step without Movement!” (see video).

It is certainly a piece worth to be seen – and in no way related to any ‘poor’ crisis concepts or purely ‘hysterical’ expressions – as Alain Platel explained in an interview. It simply was due to an ‘out of context’ situation for his group of dancers, which he feared would drive them apart. Though his intention to hold them together and bridge the time, brought this piece – based on minimal budget – alive:

“I am not referring to hysteria as a disease, but rather as an expression of oversensitivity to life. Whenever words are unable to

no comments Filed Under: art, identity, perception, performativity, space
GAP*

The gap as the metaphor for the void / empty space which is necessary to have other things evolve -> to get a 'moving' / streaming image - a changing image -> thus the gap as the moment of free space, defining the closed 'programmed' space / the scripted space, which needs the break to get the next action running / the next character introduced -> bits, morse, pulse, flash, etc..

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