Post 3: At least 3 contextual references related to ways of exhibiting your work. These can include exhibitions you visited or researched, specific techniques you applied to your exhibition ideas, and other relevant material that informed your decisions. These references can apply to both your Degree Exhibition as originally planned and/or the adjustments you had to make for an online submission due to COVID-19.
Tracy Emin exhibited her own bed as an exposure of herself, a self portrait installation. Looking at preformative and installation artists I always faced the problem to understand the reasons behind artworks. I could understand that it is different and smart to create something that is new, but how does such and idea initiate? Why would you place objects that in a specific display can be named artworks?
How does your artistic practice become revolutionary?
Looking at Emins’s work I am not impressed by the artwork or the outcome, however, it makes me want to think “why” would she expose such a dirty and an unhappy personal environment, and “why” do people admire such an action?
The answer could lay next to the “why” is abstract art popular?
This leads me to the outcome that the “why” occurs after every glimpse of the artwork.
I chose to have a preformative piece for my final exhibition, because I found my self looking deeper into questions rather than outcomes. I believe that I will sooner or later go back to painting, however, photography and performance art enabled me to experience the activity and ask questions that are not linked to aesthetically pleasing or photo-realistic outcomes.
It forces me to face art through philosophical questions and concepts.
Is the first time I realised I am actually influenced by everything that I experience everyday. My work can not be purely work. Artists can not be employees of art and work 8 hours a day. I work all day everyday.
Is the first time I actually believe I am an artist.
Looking into performances during quarantine I felt a strong will to do something physical, I refused to upload my work on a data base and just show it as pictures.
The choreographer Dimitris Papaioanou at the performance 2(TWO), exaggerates the technology element in contemporary life, with simple and humoristic components. With references to Matrix and 21st century cinema, satire about the Greek reality and the male figure, he inspired me to create a contemporary exhibition using simple and unremarkable materials.
Jenny Ringley, life stream 1996-2003, Jennicam
It’s bizarre how quickly we adapt to the technology advances. 1996 Jennicam unstoppable life streaming of personal space was something very strange and weird to do as well as follow and observe. Her life streaming was consisted by still pictures that would change every 15 seconds and form a series of pictures playing the role of the video that could not load because of the low internet connection of the period. To my eyes her performance was something like Instagram nowadays. Her artwork gave me the idea to post frequently pictures during my performance. I ended up with the idea to upload unfiltered, reality pictures every 5 minutes.
I was looking to Nan Golding because of her use of photography to document her life. She uses photography to create a visual autobiography in a no filtered, candid environment of reality. I loved the way she frames herself and her close circle of people, her pictures remind me the cinema, like they are stills of horror films. In the early 70s she uses the camera in the same way we use our phones today, to take a picture of every dull thing we see. However, she framed her material so well that the outcome is extremely artistically pleasing and full of feelings.