hannahlefeuvre

lefuuurv: peachykeencollective: “SMS” Hannah Le Feuvre ‘I...

lefuuurv — Fri, 17 May 2013 18:42:04 -0400

peachykeencollective:

“SMS”

Hannah Le Feuvre

‘I think I heard a dog cry this morning’

It is the end of the year in the sense I wont be in the studio...

lefuuurv — Fri, 17 May 2013 17:43:00 -0400

It is the end of the year in the sense I wont be in the studio any more, nice to set up work but I wish second year would start right away.

I like the idea of The Coven doing a show in Montreal, I’d want my work to 100% be dependent on the fact it is initially 2d and posted, I can see some wonderful instructions!

Interested in comment that the alginate mirrors the dough. I hadnt even thought.

@Neptune! I imagine they are floating around somewhere. Yeah, thats exactly how I think. Like/I we...

lefuuurv — Tue, 14 May 2013 19:00:00 -0400

@Neptune!

I imagine they are floating around somewhere. Yeah, thats exactly how I think. Like/I we always want proof for things, that something happened. Always thinking about making art objects, about keeping any objects, ideally everything would be an object when I feel irrational, I want to count everything, and weigh it together. To compare. Was thinking a bit about breaking down objects, you dont get anywhere through repetition, repeated words become meaningless, but nice and guttural?

TEXT PIECE All texts, as transcript/script? Layered like flaps...

lefuuurv — Tue, 14 May 2013 18:42:00 -0400

TEXT PIECE

All texts, as transcript/script?

Layered like flaps for installation?( to see all at once rather than a roll).

There is a companion mulched up blob, roughly fist squeezing size. (shouldnt sound violent ha, holding size)

There are many ‘ok’ texts.

This took a really long time because my phone is so basic I had to scroll through every text I received, digging up memories huh. I cried maybe twice. It was alright but Im not sure how useful yet. It felt important to me, but what does that mean to the rest of the world - little?

Studio installation at the moment inc all the texts my Dad has...

lefuuurv — Tue, 14 May 2013 18:05:00 -0400

Studio installation at the moment inc all the texts my Dad has ever sent me many circles and hair.

(dont call strangers, could be a real number ha)

http://www.williameadon.com/inprogress/ip1.html reminded me a lot of some of the things ive been...

lefuuurv — Tue, 14 May 2013 15:09:00 -0400

http://www.williameadon.com/inprogress/ip1.html

reminded me a lot of some of the things ive been doing - the facebook conversations referencing themselves as having been used in my ‘art’ work and also simply the idea that the books i posted are not private at all e.g have 2300 notes ish on tumblr, or the etsy shop of something mundane and private. i suppose this maybe started when my work at Portico Gallery was called kind of pervy and voyeuristic when I thought it was very innocent, i dont mind so much. Like how I like objects being treated for their object-ness, or where a use is changed, to descend so easily into fetish, though fetish in itself doesnt interest me, Im interested in the blur.

Strangely this thinking really reminds me of a film I saw for the first time today called I AM OONA, by Guvnor Nelson -

https://www.youtube.com/watch?feature=player_embedded&v=8pe8O5h9EEs

for me it feels as if the words are supposed to gain resonance and some kind of concrete meaning, like the self is going to become realised, justified and understood, like it could become an object, more part of the body - im not sure, the words almost do transcend this as they become just like pure physical sounds, both less and more meaningful maybe as it becomes sort of guttural.

So you might repeat a word, to find meaning, but it becomes nonsense- maybe this is what happens when I try to repeat and/or break down objects……division doesnt help clarity, kind of like we didnt find god or anything when we found inside atoms, in a far-fetched kind of way!

My mum used to research neuroscience/ something about strokes/brown fat thermogenesis. Diagrams...

lefuuurv — Mon, 13 May 2013 17:19:00 -0400

My mum used to research neuroscience/ something about strokes/brown fat thermogenesis. Diagrams diagrams diagrams and plans.

"As the artist advances towards an unknown resolution, it is quite often with the purpose of finding..."

lefuuurv — Sun, 12 May 2013 11:52:00 -0400

“As the artist advances towards an unknown resolution, it is quite often with the purpose of finding something ‘new’ to them”

- Rebecca Fortnum, On Not Knowing (via cherismithresearch)

Spoke at Chelsea a month or so ago, really inspiring woman.

4 in 1997, waiting to see a princess on tv. ‘where is she?’ ‘in the box’

lefuuurv — Sun, 12 May 2013 11:00:00 -0400

4 in 1997, waiting to see a princess on tv.

‘where is she?’

‘in the box’

I love this book called Multiplication, feels really like an...

lefuuurv — Sun, 12 May 2013 08:36:25 -0400

I love this book called Multiplication, feels really like an archive of unusual objects rather than of artworks, all are given equal staus and the images are separate, pasted into the book. Really interesting ambiguous pieces with nice titles.

it all feels very much about things not being there any more

lefuuurv — Sun, 12 May 2013 08:33:11 -0400

it all feels very much about things not being there any more

the-coven: Untitled Erin Baillie-Rutter

lefuuurv — Sat, 11 May 2013 15:26:59 -0400

the-coven:

Untitled

Erin Baillie-Rutter

hannahlefeuvre: Helen Robertson workshop, performance/filmingwe had hold poles and...

lefuuurv — Sat, 11 May 2013 14:31:16 -0400

hannahlefeuvre: Helen Robertson workshop, performance/filmingwe had hold poles and...:

lefuuurv:

neptuneoy:

hannahlefeuvre:

Helen Robertson workshop, performance/filming

we had hold poles and make structures to interact in the space, sort of like mapping out conversations between objects, or the architecture and the people. The tension was amazing, although odd. I didnt know what i was supposed to do but it turned…

One thing that interests me was the unknowing. Without any instruction, as if we all knew what to do and had an agreement about it, we just made our steps. For me I felt more exciting before watched how other people did in previous film clips from the last workshop, I enjoyed this “unknowing sparks” when we didn’t really realize it. It’s like having a temporary relationship with the poles (…) and the space, suddenly the space and poles (…) appeared to be fresh and odd and new, I felt like learning it and found my attachment to it and the other poles (…).

Another one is, I wonder: what is the “rules” behind it if there is one? Why everyone just followed this unspeakable rule, making rectangles, lining up, gathering, departing… And usually, one moved the others moved. Why everyone walked linearly, at a moderate average speed. I think it’s really “social” sometimes rather than architectural. Also, rectangles. Rectangles, they really bothered me: Why it has to be rectangles? Because there are four of us and the room is rectangular? I’ve tried several times to break them up but another one took shape. And what is this inherent tendency in human nature that slightly show his face, this tendency towards order?

These are probably the interesting things I got from it, the rest of the performances we did were literally acting, already knowing what to do and simply repeated it, at least for me it was.

Yes definitely, you are right this was the most interesting part, it was so tender and fresh, because we didnt know how to act with the objects which were like markers extending the body, the room or each other, like we were learning these (just human/human, human/objetct, object/object relation) things completely afresh and at times things clicked and aligned like you could feel a spark in the room. It was slow and pensive, I loved the moments of eye contact, how the energy shifts from thoughts on the space object and people all at once.

Helen Robertson workshop, performance/filming we had to hold poles and make kind of moving...

lefuuurv — Fri, 10 May 2013 13:58:00 -0400

Helen Robertson workshop, performance/filming

we had to hold poles and make kind of moving structural shapes to interact in the space, sort of like mapping out conversations between objects, or the architecture and the people. The tension was amazing, although odd. I didnt know what i was supposed to do but it turned out to be like a sort of game between people making shapes, kind of like playing Tig. Each time we put a pole down it made a big hummy plonk which reminded me of singing bowl things, weirdly meditative, just as much about purely mental and physical silent interactions with the strangers as much as it was about any comment on objects as far as I am concerned.

lefuuurv: made some blobs with alginate, they were nice like...

lefuuurv — Fri, 10 May 2013 13:32:10 -0400

lefuuurv:

made some blobs with alginate, they were nice like little shiny minty egg yolks but now it dries like pills or toothpaste. I was thinking about the opposite of holes, I like the repetition and the dusty, clinical aesthetic.

Take a survey for me please.

lefuuurv — Tue, 07 May 2013 17:08:11 -0400

Take a survey for me please.

Party For Freedom at Asylum by Oreet Ashery (artangel commission). (a long post)

lefuuurv — Tue, 07 May 2013 16:36:00 -0400

My feelings about this performance are genuinely and generally very positive despite my friends going away with adverse opinion, so I feel somewhat like I really need to articulate what exactly made it endearing to me.

Shares the name of the right wing dutch political party - ‘loosely based on Vladimir Mayakovsky’s 1921 play Mystery-Bouffe, telling the story of the Clean and the Unclean. It explores performances of liberation and political nakedness; and responds to the changing landscape of Dutch politics following the assassinations of controversial Dutch politician Pim Fortuyn in 2001 and film director Theo van Gogh in 2004, and the ensuing popularity of Geert Wilders, the Dutch politician and leader of the far-right Partij voor de Vrijheid [Party for Freedom].’

Firstly, of course criticism about ‘gender’ can be more maybe profound and intellectual, it can be conceptually more proficient - but can it really be more emphatic and more touching ….more human and easily accessible than a performance involving such confident androgeneus performers, one ‘girl’ had visible self harm scars, one ‘man’ wore a wig. And the issue of gender isn’t one which should be postulated in gallery context only, it is something that desparately needs to be bought to people and transcend into something active. Simply, the work made me happy because as I watched them I felt good about naked bodies, I felt good about people, about people interacting and like I was part of it, I suppose it is the party potentiality ha. Maybe this is just a bi-product of the silly state of mind of which I entered the performance, but just as the Sehgal’s all encompassing humanness and intimacy touched me, this did.

It was described as ‘Somewhere between a travelling cinema and theatre troupe, a kiss-a-gram and a takeaway delivery service’ which it was, and I did feel the concious trashiness was a strong aesthetic to work with though at parts maybe that coupled the theatre troupe-like side did near kind of bad waters when it became a little disparate and confusing with the film and the politics, for someone who knows little

One performer came and sat with me and held my hand for a scene that he whispered would be particularly sad for him and although it could be strange and unwelcome for holding hands with a naked man to be a participatory aspect of the art work this felt very sincere and necessary, I felt like they were all telling genuine stories I could identify with.

I also had to shine a light on him, pink, it wasnt gimicky, it was more everyone had to help to make the show work, everyone has to discuss these issues etc. at one point and I almost felt like how people were picked out individually by individual performers gave me a personal experience of the show, like I was following his story, and like the themes were very much relevant to me also. Maybe they are alienating themes, or maybe the trash aesthetic and audience participation simply alienated others. It wasnt smoothly put together, it was human and expressive and that was just what I wanted from it. It was fun and it made me feel good. I think this is still valuable in the art work just as more conceptual and critical comment is.

I must keep making the link with Tino Sehgal.

So I feel like each perofrmer was laid bare (ha) it was confessional but more it was celebratory and unpretentious and not in the way that the viewer feels either burdened or bored with narrative, the quick pace may have made some aspects superficial and undeveloped but it kept it interesting, as all parties should be.

I viewed the piece at Asylum a great chapel space in an old Asylum (surprise) and although I often berate things for being aeshtetic, when teaching acceptance and ultimately love unexpected beauty is a real easy and effective carrier.

http://www.ubu.com/outsiders/jack/jack7.html

lefuuurv — Tue, 07 May 2013 16:23:40 -0400

http://www.ubu.com/outsiders/jack/jack7.html

Simon FUJIWARA ‘I am my work,’ I really like how smoothly and coherently, in the aesthetic as well...

lefuuurv — Tue, 07 May 2013 12:39:00 -0400

Simon FUJIWARA

‘I am my work,’

I really like how smoothly and coherently, in the aesthetic as well as the conceptual sense Fugiwara combines installation, text and performative elements. Frieze calls his approach ‘quasi-anthropological’ as they then explain one piece of work ‘Take the series ‘Welcome to the Hotel Munber’ (2006–ongoing), a work that, as Fujiwara puts it, ‘retells my parents’ life as erotic fiction’. Before he was born, the artist’s parents ran a hotel and bar in southern Spain during the final years of General Franco’s dictatorship – a fact Fujiwara uses as a springboard to considering Franco’s censorship of pornography and homosexual activity, making up for the absence of gay erotica of the time by concocting his own, with his father as the main protagonist. The artist’s conceit of casting his own father as a homosexual adventurer in what is effectively an intra-generational exchange of sexuality is an uncomfortable one, which is amplified by the protagonist satisfying his repressed desires using the objects and architecture of the hotel itself as sexual surrogates; more revealing, perhaps, of Fujiwara’s own psycho-sexual investments in architecture than the approach of his architect father.’

Part of it a lecture, pseudo academic…..they comment his ’take on personal biography owes something to Richard Prince’ who is known for ‘rephotography’ which as an idea completely tickles me, brilliant.

http://www.frieze.com/issue/article/simon_fujiwara/

THis final image reminds me so much of the intentions and failings of my work shown at Portico - it was a little awkward and maybe in ways timid, this is clear and punchy in it’s reference to lacan as well as simply funny and punny.

Pierre Bismuth - I think it is useful to hear what others have to say. This is just a blog so...

lefuuurv — Tue, 07 May 2013 12:09:00 -0400

Pierre Bismuth -

I think it is useful to hear what others have to say. This is just a blog so wikipedia is useful in getting the lowdown on artists , I think this is rather eloquent and it got me excited for sure :

‘Through efficient and often humorous gestures, Bismuth interrupts pre-established codes of reading the images and objects that pervade daily life, from headline stories in newspapers to magazine clippings from gentlemen’s magazines, to even the color of the walls. In his series From Red to Nothing and From Green to Something Else, Bismuth reproduces a painted wall in each exhibition, subtly altering the color by the addition of a small amount of white or colored paint to the original color. Another series Something less, Something More (2002–2006) consists of thin partitions out of which Bismuth removes circles until as little material as possible remained, while the circles removed from the partitions accumulate on the floor. Replaced by the Same (2003), Bismuth plays on the idea of substituting one thing by its double: for each photograph in this series, elements taken from duplicates are glued on exactly the same place as they were on the originals.’

http://www.lespressesdureel.com/ouvrage.php?id=1298&menu=

Someone I don’t know who reminds me of someone you don’t know 2004

‘Pierre Bismuth’s practice investigates the processes through which we make sense of cultural forms such as art, cinema and the print media. His work often involves a reorganisation of existing material, with the effect of preventing the viewer from relating to it in the way that was originally intended……Elena Kane has written that Bismuth ‘seeks to uncover the mechanisms at play in the production of meaning. His experiments involve initiating situations of perception which implicate the viewer as an active recipient — rather than passive consumer — and which, through the use of various conceptual and linguistic strategies (along with the occasional dash of good old tongue-in-cheek nonsense), bring about moments of enlightening disillusionment’.1 The ‘moment of disillusionment’ to which Kane refers is apparent through the relationship of the title to the images, and only completed with the viewer’s participation and complicity.’ (http://www.qagoma.qld.gov.au/collection/contemporary_international_art/pierre_bismuth)

I really identify with these themes of some sort of break down and analysis of the forms of cultural production and art making and the forms in which we identify with and invest in art emotionally. The titles activate the work. The art context activates it, it is all about shifiting perspectives, it is both subtle and again, quiet, yet very forceful and clear in concept. The work is complex and diverse, need ta get my hands on some books.