I love the French New Wave's aesthetic and editing techniques. I've only seen a few films (Jules et Jim, Breathless, and the end of 400 Blows) but I'd love to see more, like Agnes Varda's Cleo de 5 a 7 (unfortunately I haven't found it anywhere yet, so the trailer will have to suffice for now)
Friday, February 29, 2008
New Film Project
I want to start a new film project, not necessarily related to the everyday project. It would be a short movie, using a collage of moving images with narration providing the plot. I'd love to get a feel to the piece that's similar to some of the Amelie sequences, where the eponymous character, played by Audrey Tautou, introduces characters by going their likes and dislikes.
I looked at William S. Burroughs' cut ups video; I like the way the images are arranged, although I probably wouldn't use an image repeatedly. Here's the video:
I would like to keep the aesthetic very simple, and have recently watched some Fluxus pieces, among which Yoko Ono's 'Blink' and 'Fly'. I've made videos quite similar to hers in the past, and will probably maintain the same style in the future. I prefer lo-tech, simple shots/sequences rather than overdone, overdetailed ones.
George Maciunias- 1000 frames (1966)
Wolf Vostell- Sun in your Head (1963)
I looked at William S. Burroughs' cut ups video; I like the way the images are arranged, although I probably wouldn't use an image repeatedly. Here's the video:
I would like to keep the aesthetic very simple, and have recently watched some Fluxus pieces, among which Yoko Ono's 'Blink' and 'Fly'. I've made videos quite similar to hers in the past, and will probably maintain the same style in the future. I prefer lo-tech, simple shots/sequences rather than overdone, overdetailed ones.
George Maciunias- 1000 frames (1966)
Wolf Vostell- Sun in your Head (1963)
Thursday, February 28, 2008
Granary Building at night
Here's a video I made on tuesday night. I initially wanted to film the design building, but the security guards had already turned off half the lights in the building by the time I got to the red square (8:40). So I decided to film the Granary building instead. Unfortunately, the camera malfunctioned after 6:29 minutes, so my film was confined to that time (at least for the time being- I'll probably film either the granary or design building again at some point this/next week). I edited the film to be black and white, might put out a color version as well. The black and white film references directly to the aesthetic of 'Empire', Warhol's piece which inspired this idea.
Tuesday, February 26, 2008
Wednesday, February 20, 2008
more more research
Kathy Prendergast
(b. 1958, Dublin, Ireland)
As a sculptor and a draftswoman, Kathy Prendergast transforms commonplace items such as maps, bits of clothing, human hair, and household objects in order to draw our attention to issues of identity, political power, and individual experience. In 1992, Prendergast began work on an enormous project called City Drawings in which she set out to draw maps of all the world’s major capital cities in pencil. Each map consists of delicate lines that depict the main thoroughfares and streets of a city as though they were the veins and arteries of a human body. When complete, there will be some 180 drawings in this series.
Prendergast’s “Lost Map” appears at first to be a straightforward map of the United States with the familiar topographical information about mountain ranges, lakes, and state borders. Yet, on closer inspection, this computer-generated map reveals that all the names of places have been removed from the map except for those that begin and end with the word lost (e.g., Lost Creek, Lost Island, and Lost Canyon).
In describing “Lost Map” as well as her plans for an impending project, Prendergast writes: “For the last few years I have been researching place-names with the idea of producing an “Emotional Atlas of the World.” This atlas would show all the places in the world which have names connected with emotions, i.e., Lost Bay, Lonely Island, Hearts Desire, etc., rather than the conventional atlas which shows places of importance. The map Lost in the exhibition is a variation on this theme, showing all the “lost” places in North America. Until quite recently maps and atlases were produced by hand. Within the last few years new atlases have been produced using digital technology. It is the combination of this technology, the place-name information on the Internet and my idea that has made my project possible.”
from source 'Six Artists Who Use Maps in Their Work'
(b. 1958, Dublin, Ireland)
As a sculptor and a draftswoman, Kathy Prendergast transforms commonplace items such as maps, bits of clothing, human hair, and household objects in order to draw our attention to issues of identity, political power, and individual experience. In 1992, Prendergast began work on an enormous project called City Drawings in which she set out to draw maps of all the world’s major capital cities in pencil. Each map consists of delicate lines that depict the main thoroughfares and streets of a city as though they were the veins and arteries of a human body. When complete, there will be some 180 drawings in this series.
Prendergast’s “Lost Map” appears at first to be a straightforward map of the United States with the familiar topographical information about mountain ranges, lakes, and state borders. Yet, on closer inspection, this computer-generated map reveals that all the names of places have been removed from the map except for those that begin and end with the word lost (e.g., Lost Creek, Lost Island, and Lost Canyon).
In describing “Lost Map” as well as her plans for an impending project, Prendergast writes: “For the last few years I have been researching place-names with the idea of producing an “Emotional Atlas of the World.” This atlas would show all the places in the world which have names connected with emotions, i.e., Lost Bay, Lonely Island, Hearts Desire, etc., rather than the conventional atlas which shows places of importance. The map Lost in the exhibition is a variation on this theme, showing all the “lost” places in North America. Until quite recently maps and atlases were produced by hand. Within the last few years new atlases have been produced using digital technology. It is the combination of this technology, the place-name information on the Internet and my idea that has made my project possible.”
from source 'Six Artists Who Use Maps in Their Work'
More Research
Hamish Fulton
Since the early 1970s Hamish Fulton (born 1946) has been labelled as a sculptor, photographer, Conceptual artist and Land artist. Fulton, however, characterises himself as a 'walking artist'.
Fulton first came to prominence in the late 1960s as one of a number of artists - including Richard Long and Gilbert & George - who were exploring new forms of sculpture and landscape art. A central characteristic of their practice was a direct physical engagement with landscape. Fulton's time as a student at St Martin's College of Art in London (1966-68) and his journeys in South Dakota and Montana in 1969, encouraged him to think that art could be 'how you view life', and not tied necessarily to the production of objects. He began to make short walks, and then to make photographic works about the experience of walking.
At this time, and subsequently, his practice was influenced by an unusually broad set of interests including the subject of the environment and the culture of American Indians. In 1973, having walked 1,022 miles in 47 days from Duncansby Head (near John O'Groats) to Lands End, Fulton decided to 'only make art resulting from the experience of individual walks.' Since then the act of walking has remained central to Fulton's practice. He has stated 'If I do not walk, I cannot make a work of art' and has summed up this way of thinking in the simple statement of intent: 'no walk, no work'. Although only Fulton experiences the walk itself, the texts and photographs he presents in exhibitions and books allow us to engage with his experience.
source
Francis Alys
Biography
b. 1959, Antwerp, Belgium
Francis Alÿs was born in 1959 in Antwerp, Belgium. He attended the Institut Supérieur d'Architecture Saint-Luc in Tournai, Belgium, from 1978 to 1983 and the Instituto Universitario di Architettura in Venice from 1983 to 1986, where he received a master's degree in urbanism with a thesis on the presence of animals in medieval and Renaissance-era European cities. After graduation, he moved to Mexico City, where he worked in the workshop of the weaver Jacobo Islas Mendoza in collaboration with Felipe Sanabria. The abundant presence of street animals in that city inspired the early work The Collector (1991–92), in which the artist "walked" a magnetized sculptural model of an animal through the city, extracting random metal detritus from the street. The sculpture, along with photographic documentation of its use, was exhibited in Alÿs's second solo exhibition, at the Galería Arte Contemporáneo in Mexico City in 1992.
Many of Alÿs's subsequent works examined the act of walking through an urban environment. The Leak (1995) consisted of a walk through Ghent with a punctured can of paint, which left a trail behind him. In Paradox of Praxis (1997), he pushed a block of ice through Mexico City until it had completely melted away. His work also developed a political edge; in Patriotic Tales (1997), he led a flock of sheep into the Zocalo, the central square of Mexico City, in reference to the bureaucrats who authored the suppression of a protest there in 1968. For the photographic series Sleepers (1999), he took photographs of animals and homeless people sleeping on the street. In his recent project When Faith Moves Mountains (2002), which was exhibited at the Bienal Iberoamericana de Lima in 2002, his focus shifted from the urban experience to notions of collective myth making: five hundred volunteers used shovels to move a sand dune four inches from its original location.
Alÿs has had solo exhibitions at the Museo de Arte Moderno in Mexico City (1997), Musée Picasso in Antibes (2001), Wadsworth Atheneum in Hartford, Connecticut (2002), and the Museum of Modern Art in New York (Projects 76, 2002), among other venues. In 1999, he produced a web project for the Dia Center for the Arts in New York. His work has also appeared in the Bienal de La Habana (1994), Bienal de Arte Tridimensional in Mexico City (1997), Bienal Barro de Am�rica in Caracas (1998), Melbourne International Biennial (1999), Mexico City: An Exhibition about the Exchange Rate of Bodies and Values at P.S. 1 in New York (2002), and Moving Pictures at the Guggenheim Museum Bilbao (2003). Alÿs was a finalist for the Guggenheim Museum's 2002 Hugo Boss Prize. He continues to live and work in Mexico City.
source
Since the early 1970s Hamish Fulton (born 1946) has been labelled as a sculptor, photographer, Conceptual artist and Land artist. Fulton, however, characterises himself as a 'walking artist'.
Fulton first came to prominence in the late 1960s as one of a number of artists - including Richard Long and Gilbert & George - who were exploring new forms of sculpture and landscape art. A central characteristic of their practice was a direct physical engagement with landscape. Fulton's time as a student at St Martin's College of Art in London (1966-68) and his journeys in South Dakota and Montana in 1969, encouraged him to think that art could be 'how you view life', and not tied necessarily to the production of objects. He began to make short walks, and then to make photographic works about the experience of walking.
At this time, and subsequently, his practice was influenced by an unusually broad set of interests including the subject of the environment and the culture of American Indians. In 1973, having walked 1,022 miles in 47 days from Duncansby Head (near John O'Groats) to Lands End, Fulton decided to 'only make art resulting from the experience of individual walks.' Since then the act of walking has remained central to Fulton's practice. He has stated 'If I do not walk, I cannot make a work of art' and has summed up this way of thinking in the simple statement of intent: 'no walk, no work'. Although only Fulton experiences the walk itself, the texts and photographs he presents in exhibitions and books allow us to engage with his experience.
source
Francis Alys
Biography
b. 1959, Antwerp, Belgium
Francis Alÿs was born in 1959 in Antwerp, Belgium. He attended the Institut Supérieur d'Architecture Saint-Luc in Tournai, Belgium, from 1978 to 1983 and the Instituto Universitario di Architettura in Venice from 1983 to 1986, where he received a master's degree in urbanism with a thesis on the presence of animals in medieval and Renaissance-era European cities. After graduation, he moved to Mexico City, where he worked in the workshop of the weaver Jacobo Islas Mendoza in collaboration with Felipe Sanabria. The abundant presence of street animals in that city inspired the early work The Collector (1991–92), in which the artist "walked" a magnetized sculptural model of an animal through the city, extracting random metal detritus from the street. The sculpture, along with photographic documentation of its use, was exhibited in Alÿs's second solo exhibition, at the Galería Arte Contemporáneo in Mexico City in 1992.
Many of Alÿs's subsequent works examined the act of walking through an urban environment. The Leak (1995) consisted of a walk through Ghent with a punctured can of paint, which left a trail behind him. In Paradox of Praxis (1997), he pushed a block of ice through Mexico City until it had completely melted away. His work also developed a political edge; in Patriotic Tales (1997), he led a flock of sheep into the Zocalo, the central square of Mexico City, in reference to the bureaucrats who authored the suppression of a protest there in 1968. For the photographic series Sleepers (1999), he took photographs of animals and homeless people sleeping on the street. In his recent project When Faith Moves Mountains (2002), which was exhibited at the Bienal Iberoamericana de Lima in 2002, his focus shifted from the urban experience to notions of collective myth making: five hundred volunteers used shovels to move a sand dune four inches from its original location.
Alÿs has had solo exhibitions at the Museo de Arte Moderno in Mexico City (1997), Musée Picasso in Antibes (2001), Wadsworth Atheneum in Hartford, Connecticut (2002), and the Museum of Modern Art in New York (Projects 76, 2002), among other venues. In 1999, he produced a web project for the Dia Center for the Arts in New York. His work has also appeared in the Bienal de La Habana (1994), Bienal de Arte Tridimensional in Mexico City (1997), Bienal Barro de Am�rica in Caracas (1998), Melbourne International Biennial (1999), Mexico City: An Exhibition about the Exchange Rate of Bodies and Values at P.S. 1 in New York (2002), and Moving Pictures at the Guggenheim Museum Bilbao (2003). Alÿs was a finalist for the Guggenheim Museum's 2002 Hugo Boss Prize. He continues to live and work in Mexico City.
source
Sunday, February 17, 2008
Sunday 17th of February, 2008
10:30 - leave Broadstone
11:05 - arrive at Blackrock Park (bus 4a)
11:32 - arrive at Blackrock Starbucks
13:10 - leave Blackrock Starbucks
13:20 - arrive at Blackrock Park
14:20 - leave Blackrock Park
14:37 - leave Blackrock (Frascati Centre)
15:00 - arrive at O'Connell St. (bus 7)
15:07 - arrive at Penney's Henry St.
15:31 - leave Penney's
15:33 - arrive at Dunnes in Ilac Centre
15:50 - leave Dunnes in Ilac Centre
15:52 - arrive at Debenhams Henry St.
16:25 - leave Debenhams
16:27 - arrive at Jervis Shopping Centre
16:47 - leave Jervis Shopping Centre
17:00 - arrive at Broadstone (via Ilac Centre)
11:05 - arrive at Blackrock Park (bus 4a)
11:32 - arrive at Blackrock Starbucks
13:10 - leave Blackrock Starbucks
13:20 - arrive at Blackrock Park
14:20 - leave Blackrock Park
14:37 - leave Blackrock (Frascati Centre)
15:00 - arrive at O'Connell St. (bus 7)
15:07 - arrive at Penney's Henry St.
15:31 - leave Penney's
15:33 - arrive at Dunnes in Ilac Centre
15:50 - leave Dunnes in Ilac Centre
15:52 - arrive at Debenhams Henry St.
16:25 - leave Debenhams
16:27 - arrive at Jervis Shopping Centre
16:47 - leave Jervis Shopping Centre
17:00 - arrive at Broadstone (via Ilac Centre)
Saturday 16th of February, 2008
08:50 - leave Kilcoole
09:08 - arrive Bray DART Station (car)
09:50 - arrive at Pearse (DART)
10:03 - arrive at Clarendon Medical (via Nassau St., Grafton St.)
14:01 - leave Clarendon Medical
14:07 - arrive at Avoca
14:10 - leave Avoca
14:15 - arrive at St. Stephen's Green Park
14:35 - leave St. Stephen's Green park
14:39 - arrive at Clarendon Medical
18:00 - leave Clarendon Medical
18:14 - arrive at IFI (via George's St. Arcade)
18:14 - leave IFI
18:30 - arrive at Spar opposite Jervis (via Millenium bridge, following LUAS line)
18:37 - leave Spar
18:40 - arrive at Spar near LUAS line
18:44 - leave Spar
19:01 - arrive at Broadstone
09:08 - arrive Bray DART Station (car)
09:50 - arrive at Pearse (DART)
10:03 - arrive at Clarendon Medical (via Nassau St., Grafton St.)
14:01 - leave Clarendon Medical
14:07 - arrive at Avoca
14:10 - leave Avoca
14:15 - arrive at St. Stephen's Green Park
14:35 - leave St. Stephen's Green park
14:39 - arrive at Clarendon Medical
18:00 - leave Clarendon Medical
18:14 - arrive at IFI (via George's St. Arcade)
18:14 - leave IFI
18:30 - arrive at Spar opposite Jervis (via Millenium bridge, following LUAS line)
18:37 - leave Spar
18:40 - arrive at Spar near LUAS line
18:44 - leave Spar
19:01 - arrive at Broadstone
Saturday, February 16, 2008
Friday 15th of February, 2008
11:32 - leave Broadstone
11:50 - arrive at the Clock
12:03 - leave the Clock
12:04 - arrive at NCAD
12:48 - leave NCAD
12:50 - arrive at Spar
12:56 - leave Spar
12:57 - arrive at the Clock
13:20 - leave the Clock
13:22 - arrive at NCAD
14:11 - leave NCAD
14:44 - arrive at Pearse St. (past Francis St., Stephen's Green, Dawson St.)
15:10 - arrive at Booterstown (DART)
15:49 - leave Booterstown (DART)
16:17 - arrive in Bray (DART)
16:25 - arrive at Bray Library
17:05 - leave Bray Library
17:18 - take 84 from Bray Dart Station
18:00 - arrive in Kilcoole
11:50 - arrive at the Clock
12:03 - leave the Clock
12:04 - arrive at NCAD
12:48 - leave NCAD
12:50 - arrive at Spar
12:56 - leave Spar
12:57 - arrive at the Clock
13:20 - leave the Clock
13:22 - arrive at NCAD
14:11 - leave NCAD
14:44 - arrive at Pearse St. (past Francis St., Stephen's Green, Dawson St.)
15:10 - arrive at Booterstown (DART)
15:49 - leave Booterstown (DART)
16:17 - arrive in Bray (DART)
16:25 - arrive at Bray Library
17:05 - leave Bray Library
17:18 - take 84 from Bray Dart Station
18:00 - arrive in Kilcoole
Friday, February 15, 2008
Thursday 14th of February, 2008
10:41 - leave Broadstone
11:00 - arrive at the Clock (through NCAD back entrance)
12:37 - leave the Clock
12:38 - arrive at NCAD (through front entrance)
16:15 - leave NCAD
16:17 - arrive at Spar Thomas St. (next to Lidl)
16:20 - arrive at the Clock
21:40 - leave the Clock
22:00 - arrive at McGruders
22:30 - leave McGruders
22:50 - arrive at the IFI (diversion down Cow Lane, past Cultivate, through Meeting House Square)
01:30 - leave the IFI
01:40 - arrive at Broadstone
11:00 - arrive at the Clock (through NCAD back entrance)
12:37 - leave the Clock
12:38 - arrive at NCAD (through front entrance)
16:15 - leave NCAD
16:17 - arrive at Spar Thomas St. (next to Lidl)
16:20 - arrive at the Clock
21:40 - leave the Clock
22:00 - arrive at McGruders
22:30 - leave McGruders
22:50 - arrive at the IFI (diversion down Cow Lane, past Cultivate, through Meeting House Square)
01:30 - leave the IFI
01:40 - arrive at Broadstone
Thursday, February 14, 2008
Idea 2- Presentation Idea
http://www.planbperformance.net/dan/index.htm
Don Belasco Rogers who is also one half of Berlin-based performance artists plan b explained his interest in mapping and the personal geography of cities. To him, they are rather accumulations of events than their hard, concrete surfaces. One of the events which proved that to him was a fire in Clerkenwell, London in which several people were trapped in an illegal porn cinema and killed by the flames. A short while later, every trace of this incident was gone and he realized that this events like these rather live on "in the head and in the body" of the city's inhabitants than anywhere else. The same goes for personal accidents that happened to him throughout London during the time that he had lived there.
As Dan puts it, "we're quite soft to mark, whereas the city is rather hard". When he moved to Berlin in 2001, he wondered where those personal stories about London would go, so in order to approach this new city (and to record his London history), he drew a map of such incidents and then matched it with a map of Berlin of the same scale while Picadilly circus and Brandenburg gate served as center points. Like this, he could approximately tell where an incident would have been if it had happened in Berlin instead of London and subsequently documented the sites. For instance the place where he tripped and head-butted a lamp post near Picadilly circus would have been that patch of open space just in front of the Reichstag.
Becoming increasingly interested the city being a "mnemonic place which lives through its story", he developed several pieces and performances which almost all revolve around similar ideas, like Our House or A description of this place as if you were someone else. The latter uses GPS-technology to place stories around Bristol's Queen Square while the user can walk through them and literally "peel back the layers of a city" and a similar way of tracking oneself through satellite is also applied in the project which Dan is exhibiting at Ginza Art Lab, Mapping.
For this ongoing practice of "daily mapmaking" (which borrows from Gerhard Richter's practice of daily painting), he basically takes his GPS receiver/recorder whereever he goes to trace his ways and watch himself making new connections. The outcome of this project is really beautiful, intricate maps which look a lot like precisely-drawn, slightly technical maps, unless you zoom in and see the inaccuracies of the GPS which suddenly give them something very handmade. Yet, obviously they haven't been "drawn" in a traditional sense but rather been created by his body's movement through the real space they resemble, so there's a whole host of connotations to be found. So now for every day he is in the city, Dan will update the Tokyo-map with last day's data and it will become more ever more complex as he discovers it.
source
When I have collected my everyday routine for about a week, I want to draw my routes out on a map of Dublin. I'll probably mount an A2 or A1 map on board, and put pins in the locations i frequent and could use thread to connect them according to the journey I travel.
I could also use tracing paper to trace my routes from the map, then using that traced image transfer my journey onto soft material and embroid my journey onto a piece of cloth.
I also had an idea of photographing a string that i'll drag behind me on one of my daily journeys, similar to the Hansel and Gretel story, or the Theseus and the Minotaur myth.
I could also look at Richard Long's land art:
Wednesday, February 13, 2008
Wednesday 13th of February, 2008
09:48 - leave broadstone
10:00 - arrive at NCAD (back entrance)
10:37 - leave NCAD (front entrance)
10:38 - arrive at the Clock
11:20 - leave the Clock
11:22 - arrive at Lidl
11:30 - leave Lidl
11:31 - arrive at 2 euro store
11:36 - leave 2 euro store
11:38 - arrive at NCAD (front entrance)
12:30 - leave NCAD (back entrance)
12:45 - arrive at Spar (top of Capel St.)
12:49 - leave Spar
13:00 - arrive at Broadstone
10:00 - arrive at NCAD (back entrance)
10:37 - leave NCAD (front entrance)
10:38 - arrive at the Clock
11:20 - leave the Clock
11:22 - arrive at Lidl
11:30 - leave Lidl
11:31 - arrive at 2 euro store
11:36 - leave 2 euro store
11:38 - arrive at NCAD (front entrance)
12:30 - leave NCAD (back entrance)
12:45 - arrive at Spar (top of Capel St.)
12:49 - leave Spar
13:00 - arrive at Broadstone
Tuesday 12th of February, 2008
09:38 - leave Broadstone (down Constitution Hill)
10:00 - arrive at NCAD (media; through the back entrance)
11:08 - leave NCAD (through the front entrance)
11:10 - arrive at the Clock apartment
11:50 - leave the Clock apartment
11:52 - arrive at NCAD (media; through the front entrance)
16:40 - leave NCAD (through the back entrance)
17:00 - arrive at Broadstone
19:30 - leave Broadstone (take 19 at 19:47)
20:03 - arrive at Carmelite Centre on George's St.
21:00 - leave Carmelite Centre (take 19 at 21:05)
21:20 - arrve at Broadstone
times are generally approximate and relative to the time displayed on my phone.
10:00 - arrive at NCAD (media; through the back entrance)
11:08 - leave NCAD (through the front entrance)
11:10 - arrive at the Clock apartment
11:50 - leave the Clock apartment
11:52 - arrive at NCAD (media; through the front entrance)
16:40 - leave NCAD (through the back entrance)
17:00 - arrive at Broadstone
19:30 - leave Broadstone (take 19 at 19:47)
20:03 - arrive at Carmelite Centre on George's St.
21:00 - leave Carmelite Centre (take 19 at 21:05)
21:20 - arrve at Broadstone
times are generally approximate and relative to the time displayed on my phone.
Tuesday, February 12, 2008
The Everyday: Project Overview and Ideas
Project Description
During this project you will be asked to create a work or series of works which interrogate an aspect of the everyday. The everyday could be seen to encompass many aspects of contemporary life, including everyday routines, transport, exchange interaction, and popular culture.
Idea 1
For one part of my project, I'd like to film/photograph buildings at closing time. I got the idea for this when working on the self-directed photography project; the image of a lit window at night highlighted what goes on behind the glass more so than a window during the day would. The recording of the images would be as unintrusive as possible, so that it becomes a documentative narrative rather than an illicited one. However, when filming, I want to have a static camera position so that the image of a building front becomes the stage of the story. I want to film the NCAD design building at closing time, mainly because of ease and its likeness to actual office buildings. I'll be photographing other buildings throughout the city (around the IFSC, the AIB bank on Baggot St., office buildings along the Quays) at night time as well.
Initial Research
Videos inspired by Andy Warhol's piece, 'Empire'
Gursky
http://nymag.com/arts/art/reviews/andreasgursky070521_560.jpg
http://www.notifbutwhen.com/2/Gursky.jpg
http://cache.gridskipper.com/assets/resources/2007/03/AndreasGursky.jpg
Idea 2
Looking at the idea of the routine in everyday life, from tomorrow onwards I'll be posting up my whereabouts at (approximate) times throughout the day. I'll be documenting my day through the locations I visit. The final product will be a geographical diary which I can represent on a map, with a different coloured 'timeline' for each day dotting out my daily journeys.
Initial Research
Hans Haacke- MOMA Poll; Gallery Goers’ Birth Place and Residence Profile
http://transform.eipcp.net/correspondence/1168433356
http://www.frieze.com/issue/review/hans_haacke/
During this project you will be asked to create a work or series of works which interrogate an aspect of the everyday. The everyday could be seen to encompass many aspects of contemporary life, including everyday routines, transport, exchange interaction, and popular culture.
Idea 1
For one part of my project, I'd like to film/photograph buildings at closing time. I got the idea for this when working on the self-directed photography project; the image of a lit window at night highlighted what goes on behind the glass more so than a window during the day would. The recording of the images would be as unintrusive as possible, so that it becomes a documentative narrative rather than an illicited one. However, when filming, I want to have a static camera position so that the image of a building front becomes the stage of the story. I want to film the NCAD design building at closing time, mainly because of ease and its likeness to actual office buildings. I'll be photographing other buildings throughout the city (around the IFSC, the AIB bank on Baggot St., office buildings along the Quays) at night time as well.
Initial Research
Videos inspired by Andy Warhol's piece, 'Empire'
Gursky
http://nymag.com/arts/art/reviews/andreasgursky070521_560.jpg
http://www.notifbutwhen.com/2/Gursky.jpg
http://cache.gridskipper.com/assets/resources/2007/03/AndreasGursky.jpg
Idea 2
Looking at the idea of the routine in everyday life, from tomorrow onwards I'll be posting up my whereabouts at (approximate) times throughout the day. I'll be documenting my day through the locations I visit. The final product will be a geographical diary which I can represent on a map, with a different coloured 'timeline' for each day dotting out my daily journeys.
Initial Research
Hans Haacke- MOMA Poll; Gallery Goers’ Birth Place and Residence Profile
http://transform.eipcp.net/correspondence/1168433356
http://www.frieze.com/issue/review/hans_haacke/
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