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Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
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Fine Line - curated by Mia Nielsen
September 25 to October 28, 2007 in Viborg, Denmark
Edith Dakovic Home is Where the heart is 2007 silicone, human hair, pigment, tent hardware
Max Streicher Horses 2003 vinyl and electric fans
The largest exhibition of contemporary Canadian art held in Denmark; featuring installation, video and mixed media works by:
Paul Butler, Edith Dakovic, Angela Grossmann , Diane Landry, Nicholas & Sheila Pye,
Jessica Thompson, Max Streicher, Robert Waters
The show will occupy three sites across the town of Viborg, the Kunsthallen Brænderigården at Riddergade 8, Senko at Sct. Mathiasgade 35 D and an outdoor installation at Viborg Svømmerhal at Banegårdspladsen 1, all within a 3km route.
FASTWÜRMS - DONKY @ NINJA @ WITCH opens at AGYU Wednesday, Sept. 26, 6 -9 pm.
Don't forget to bring your torches, pitchforks, ignorance and fear, townspeople!
Red of Tooth and Kaw 2001 digital video still
And don't forget to loudly ask: "Haven't I seen some of this installation at Zsa Zsa? Why isn't that mentioned in the PR from York? Is that what they meant by Queen Street West Storefront Exhibitions? Isn't it easier and faster just to write Zsa Zsa? Now why would the AGYU not do that? Is everyone mad at each other now?"
[update: Info about Paul Petro and Zsa Zsa is on the pdf file, just not on the mailed print version]
[shit fuck damn, I wanted to see some sissy fights]
 Emblem XVII from Michael Maier,Atalanta fugiens (Oppenheim: Hieronymus Gallerus, J. Theodorus de Bry, 1618). Borrowed from Hyle "The historians who make alchemy their particular interest are sometimes looked on as eccentrics: their methodology may be impeccable (I mean, good archival research, sound iconographic analyses), but their choice of subject matter makes them suspect. In that respect art historians who are interested in alchemy become one further example of the oil-and-water problem of mixing alchemy with any ‘legitimate’ discipline." - excerpt & illustration from James Elkins' Four Ways of Measuring the Distance Between Alchemy and Contemporary Art (2003) |
Sunday Devotionals
From Black Cat Bone - Burning The Flesh Off Modern Art
Hallelujah
an Evil Digital Film
produced by Force Majeure Film Studios
(a Holy owned subsidiary of Black Cat Bone Global Media Empire)
written, directed and edited by The Right Reverend James
Tower In The Forest 2007 Bamboo, Rattan, Iron, 1500 x 1500 x 2700 cm
While installing at the tree museum we had the pleasure of making the aquaintance of Wang Wen-Chih, an artist from Taiwan, who constructed the wonderful Tree House (my images don't do it justice). These installation images are from an exhibition in Taiwan at the Plaza of Chiayi County Hall.
I've got one brain cell left, and you're getting on it. I'm struggling with my readings for school, trying to get a grip on the context. Since a lot of the writers we're looking at right now are studying ancient Greek and Roman art it's a bit of a stretch. But, in the midst of my misery, I have come across two very charming characters.
Johann Joachim Winckelmann was a gay aesthete living the Baroque era who hated all the art of the Baroque era. Instead, he just adored the Ancient Greeks - mmmmm....slave boy...mmmm. He had a lovely gentle approach to his studies, and reflected on the role of the historian as one who experiences (and mourns) the loss of the culture he studies. He was a Prussian who moved to Rome because there he could be a tour guide and meet boys. He had a sculpture of a faun in his apartment. I'm imagining a tragi-comedy about his life starring Philip Seymour Hoffman as Winckelmann and Brad Pitt as the noble naked Athenian who appears to him in his dreams. (update: the movie should be titled Death in Athens and it should be directed by Gus Van Sant)
The other guy I like is Aby Warburg, who died in 1929. He was really pissed off with the prevailing art history of the day that championed an autonomous formalist approach. For Warburg, everything interesting happened in the transitions between cultures, and he was just as interested in bad art as in good art. He suffered from mental illness and won his freedom from five years in a mental institution by delivering a great big lecture on the Pueblo Indians and the symbol of the serpent. He was worried about technology and the way that civilization's advancements were destroying cultures. Like Winckelmann, he also reflected a lot about the objective/subjective dichotomy in the role of one who studies history. Unlike his contemporaries, he was invested in content, myth and the dark murky side of meaning.
Warburg opened his own library that was an all-over-the-place collection of stuff designed to foster interdisciplinary scholarship. He also worked on a massive picture book, which he never finished. The book was to be a big collection of diverse images, arranged collage-style in a non-heirarchical fashion (and without captions or comments). The book had several working titles, the most official one being Mnemosyne (the goddess of memory) and the funner ones being Ghost Stories for Grown-ups and Picture Book for a Critique of Pure Unreason. Exhibitions of Warburg's images were mounted (I think by him) at his library. You can see documentation here. The first thing I think of is Luis Jacob's Album III at Documenta. I think the Warburg movie should be titled Ghost Stories for Grown-ups and Willem Defoe should have the starring role. (update: on second thought it should be an illustrated novel and Von Bark should write it and Scott Carruthers should do the drawings)