Category Archives: 5. Art and Situation with Lucy

Situations with Lucy – 26th April

Situations 26th April 2016
• Wants to have an exhibition – public and open = outdoor exhibition near the library. Would have a roof. Standard exhibition, opening with wine, artist talks and invigilators between 9 – 6. Then left open – whatever happens, becomes part of the exhibition. She would make works specifically for this space – stuck to the walls – people could paint over them etc. 1st day would be the only day that the work would be guaranteed be ‘unharmed’
Cat – what about cameras – Jackie, not sure – it might discourage tagging (reclamation of public space). Wouldn’t make a big deal of it – just let it happen
Manuela – what about the care of the work – how much security are you going to provide to preserve the art. – Jackie – let it happen – is art viable in a public space like this?
Manuela – imagine if it was a month -duration…. people would feel they have a right to damage the work after the time….Jackie – a non stated experiment….don’t tell people…
Max – what would the artwork consist of – Jackie – her paintings 1 m2 images – be off the wall (but studded into the wall) Aimed at considering how we perceive our position in public spaces. Peripheral talk but no control over public space.
Lucy – Will you have any interventions – or put it there and that’s the last thing you do….Jackie – more or less. There would be an artist’s talk on the 2nd week….
Cat – invite one the taggers
The tragedy of the Commons –
Lucy – brave juxtaposition of heavily controlled space but put in a public space
The chance being part of it…
provocation to invitation… people non offey with gallery work
Michael Asher – architectural space. Issues about the white cube

Me – Lynda
• I explained my proposal of a building hosting several interventions. General feedback was that there was a lot going on and I need to hone it down to what is related to my practice. The following artists were mentioned in relation to some of the work that I brought up
– Christian Boltanski – in relation to light and shadow interplay

christian boltanski. skyggespill3
– Sophie Collier – in relation to her large glass/water/light pieces

River_Under_Me - Sophie Collier
– Nina Cannell – for her minimalist use of light including fiber optics etc

Nina Canell 2
• There was also a discussion about whether I would have info blurbs on the scientific background – or talks – or on-line info
Glucksman – Folly: Art after Architecture, 2014 – I looked this up and am interested in the following artists
– Jane & Louise Wilson – For their use of large screens and video work

– Hiroshi Sugimoto – for his lightning photographs

– Pierre Huyghe – for his incorporation of light and shadow

streamside_day_follies_inst - Pierre

• I need to present something with more focus
• Ask myself how effective it would be to select just some of my proposals
• Think about the art/not art balance
• Think about where my own practice fits
• Think about me as curator – take ownership of what I have done

Manuela – Knock on the Head
A large iron head with a swinging pendulum- male – generic in a basement or celler of a church – cold, dim light – open to the public between 7 – 10pm – every 10 minutes the pendulum would strike the head, creating a loud bong. She wants this piece to have an intimate feeling. People will have to discover the place – secrecy – no info related to the place
• Rebecca Horn – steel pendulum. mechanical piece – machinery – tension and anticipations.
• Bust – male head
• Cat – like mediation – do people sit or stand – Manuela – no seats available to sit down, but can sit on the floor if they want
• Generic male head
• Max – it is like public decapitation

• Collective memory, Place and global community
• Women come into a place of government and bring a piece of ceramic/textiles that means something with them – evoke conversation
• historical parallels taking over public spaces – having a voice where women don’t historically have a voice
• history = male historical perspective – woman’s stories lost because they seem small
• multi cultural = women’s histories that get recorded and put on-line
• ceramics? or objects of identity
• government buildings – joyously disruptive – feminist taking over the city as opposed to masculine commercialism
• What am I learning about identity – inter social practice -Show that
• Sophie Call – museum in the Hague – put pieces from contemporary society – like plastic cups etc into the collection – the value of subjective private stories, particularly women – museums are about demographic info but missing the female voice
• Project mapping – projection is projected onto unusual shapes – augmented reality
• Tongue Theatre
• Cork city gaol
• projections of tongue coming in and out of the rooms
• 3ft high tongue
• unnerving noise
• goal – tongues hinting towards events that happened there
• Karen Power – radio connection – recording the women – event during the summer
Max – Apparitions
• Hauntology
• Apparitions = title
• making 2 video pieces – 1 female, 1 male, – simple portraits with white background
• Warm, compassionate faces – then 6 small but very bright monitors, 3 male, 3 female – set up 8ft above the ground around the city – disused places – carparks etc 11pm – 4am – come on every hour for 4 minutes – nothing in between -how disposable the moving image is – real possibility they would never be seen – what sort of person would be around at this time of night – potential power of that encounter = dream of his idea – invisible audience – audience of ghosts – image we could have of what might happen – imaginings of the reactions this could create…- the encounter of art is something that continues in your mind
• Dream festival = situate an experimental music and sound festival in the country – near the coast. Bring in different performances to do with sound and wildlife – creating a piece on a currach – 1 audience 3 rowers – host of interesting performers etc – situate different people – bee keeping – do a collaboration with an artist – small chamber orchestra performing in the woods at dusk – 3 poets in a cow-shed – space for workshops, talks, very curated and experimental – field recording- not just this – thrusting 2 worlds together, – she has experience in making events happen – she wants it to be conceptual and experimental – situated in wilderness – audience as well
• Turrell in Lismore

Tina – Friday 20th May Judith Butler

Art and Situation with Lucy – Trip to Crawford Art Gallery – April 12th ’16

Situations with Lucy – 12/04/16

Visit to Crawford

Martin Healy – A moment twice lived
4 March–7 May 2016

The exhibition, displayed over two floors, includes a number of new photographic and sculptural works and a key new single screen installation entitled, A moment twice lived (2016)The film’s circuitous narrative makes reference to JW Dunne’s writing, in particular the book An Experiment with Time (1927), by way of a curiously overlooked painting in the Crawford Gallery’s collection by Nathanial Grogan
During the course of the film, a voice-over periodically refers to dreams and experiences of temporal dislocation that raises questions about our perception of reality and relationship to the physical world.
– information from





After a meander through the ground floor with its offerings of photographic and sculptural work by Martin Healy, we ventured to the top floor to the top floor to sit awhile with the video piece ‘A moment twice lived’ (2016).  Afterwards we settled into the adjoining room to have a discussion about these works and their affect.  There was a vast array of responses to the work, varying from exclamations of detritus to finding the video piece in particular visually beautiful and affective.  What follows are some points raised during this discussion

  • Max – found the video a prime example of rubbish; He felt the artist used modernist techniques which are now uber academic and cheesy He thinks the whole thing was a box-ticking, academic exercise.
  • Manuela – Found it clean-cut and hyper staged
  • Jackie – felt that in this enforced scenic stillness that the actors couldn’t stay still (hand jerks etc) which came p against the cleanness of the aesthetic
  • Helle – Why this woman (actor) and why the younger woman’s voice
  • Lucy – Preferred the filming of the painting
  • Lucy asked – Does this piece question film or art
  • Max – John Luc Goddard – Passion, 1982, – about the idea of painting. This was more disruptive and questioning
  • Vicky – liked the shots of the old people from behind
  • Max – found it very banal.
  • Linda and myself found the piece beautifully shot and quite affective in parts
  • We had a discussion about remembering flashes of dreams and how things are lost and found in history
  • Affective time = time that we experience and this cut with our own experience.
  • Brian form MA:AP 2014 will be able to tell us more about the intention of the artist with this work.

We then relocated to the Harry Clarke room to continue our discussion about Affect theory

We briefly discussed the course timetable and came to agreement about assessment dates which are as follows:

  • Tues May 3rd – Placing Practice presentation to Jesse
  • Mon May 9th – Studio assessments
  • Tues May 10th – Situations Presentations
  • Tues May 17th – Blog (80%), initial 1,000 words (20%). Starting the Chris Clarke from Glucksman in the afternoon

What follows are bullet points of notes on our discussion about the Affect theory essays

  • Vicky – Read the Susan Best piece: – The piece looked at interpretations of ruptures as blasting new paths for feminism. They became the operating factor – that rupture or cut is related to feminine thinking, which is not necessarily gender specific
  • Helle – Read the Edward Casey piece. – It states that a piece of art has 3 components -1. The Affective, 2. Perceptual qualities and 3. Import or meaning; the narrative
  • Can you have affect without all your senses?
  • People disagree about what affect actually is
  • Cat and Jackie read Massumi – The Autonomy of Affect
  • Language is redundant when it comes to affect
  • In the snowman study they were measuring pleasure as opposed to what was remembered
  • Story of the missing half a second – you cannot experience things in the exact moment they happen because you have to process them cognitively
  • Merleau Ponty – The theory of Perception – We think that our brain is in control, but is it really? Our body has knowledge that doesn’t have rational input – body memory – LOOK INTO THIS FURTHER FOR MY WORK
  • Max – Read Seigworth: Affect arrives from the inbetween-ness.  It is prove of the body’s on-going emersion.  Internal/external = gets broken down a lot – READ THIS ESSAY
  • Barthe – wrote a series of essays after his mother died. He talked about remaining neutral – not taking a fixed position on something – incremental shimmer – LOOK INTO THIS FURTHER FOR MY WORK
  • Me and Manuela – read the Introduction piece. Manuela was struck by the Snowman ad study.  I read a passage that summed up a lot of the conversation we were having around the various essays
  • Lucy – talked about the relationship of breathing to looking
  • Tina Kinsella will be visiting us at the end of May. She lectures affect theory in NCAD, UCD, DIT, etc.  She has a background in the classics and feminist theory
  • Bracha L Ettinger – psychologist/artist/theoretical writer – LOOK INTO THIS FURTHER FOR MY WORK

Art and Situation with Lucy – April 5th

Placing Practice – April 5th


Reading – The Aesthetics of Affect  – Simon O’Sullivan

  • Rosemary – Researched the writer Simon O’Sullivan – he is a philosopher… ethics
  • place = emphasis on your own body experience
  • Jackie – Simon O’Sullivan said that you cannot read about affects – then he goes on to describe it!
  • understand the position you are in when you are being affected rather than affect itself = more accessible way to understand affect
  • Manuela – the idea of affect is always related to the body – in reaction to a place/event
  • Lucy – the idea that it happens before consciousness or cannot be described – a lot of writing about this theory
  • Lucy – Affect is perhaps something that happens before language and maybe art has a pivotal role in terms of experiencing and reflecting on affect
  • Cat – the idea that you cannot process the moment as you are experiencing it… does this mean life?!
  • Max – all this potentiality pushing down on the moment – all these parallel possibilities existing in every moment
  • Lucy – he was trying to get away from over theorising – there are other ways of approaching art
  • It rings through how people work through art – post symbiotic
  • any dogma becomes boring after a time – it only shows one aspect
  • the bordering on the nothingness – this is where you can track it best – infinitesimal change
  • The event-ness of art
  • Goodman – philosopher – broad based aesthetic – mid 20th century
  • commonality of bodily experience for aesthetics
  • Victor Bergman = bad guy pg 128
  • Cat – to what extent is material detached/attached to intent – pg 130
  • Jackie – Art creates a space, it’s not an object
  • the material is unimportant because it is a tool to an end but also important because it communicates
  • Cat – are we are in a post medium art place/movement
  • Lucy – she doesn’t think that medium will be ever totally irrelevant
  • George Batille – the sole purpose of art is to bring you to the beyond
  • Lucy – cave paintings -dealing with something that we know nothing about
  • We cannot go on being’ movement led’ – (19th century, 20th century)
  • There is now a crisis is art history, no more simple’ marching through history’ kind of arrangement -battle to leave ‘modernism’ behind etc and trying to define today
  • now its global – however – art is still within certain perimeters in a gallery setting
  • Cat – Ian Cummings poemSince feeling is First
  • JackieThey Live – the movie – in relation to transcendent
  • Jackie – The lizard part of the brain is the part that feels affect – it’s a survival instinct – all to do with colour and attractiveness – trying to intellectualise this could be problematic!!!
  • Mary Kelly – colour catcher art pieces – the 90s


  • From Wikipedia, the free encyclopedia
Mary Kelly
Born 1941 (age 74–75)
Fort Dodge, Iowa
Movement Conceptual art

mary kelly artist

Mary Kelly 7 Days, February, 1972, 2014 compressed lint, framed 76.2 x 58.4 cm, 30 x 23 in


  • Next week – read The Turn to Affect and The Autonomy of Affect or Pick one you want to focus on
  • With art – consider leaving space for the audience to draw their own conclusions – the nearer the viewer is to the material the better – closer to the experience
  • Lygia Clark – psychotherapist and artist – made clothes that people could wear around the gallery


  • From Wikipedia, the free encyclopedia
Lygia Clark
Born October 23, 1920
Belo Horizonte
Died April 25, 1988 (aged 67)
Rio de Janeiro
Nationality Brazilian
Known for PaintingInstallation art
  • Lygia Clark(Belo Horizonte, October 23, 1920 – Rio de Janeiro, April 25, 1988) was aBrazilian artist best known for her painting and installation  She was often associated with the Brazilian Constructivist movements of the mid-20th century and theTropicalia movement. Even with the changes in how she approached her artwork, she did not stray far from her Constructivist roots. Along with Brazilian artists Amilcar de CastroFranz WeissmannLygia Pape and poet Ferreira Gullar, Clark co-founded the Neo-Concrete movement. The Neo-Concretists believed that art ought to be subjective and organic. Throughout her career trajectory, Clark discovered ways for museum goers (who would later be referred to as “participants”) to interact with her art works. She sought to redefine the relationship between art and society. Clark’s works dealt with inner life and feelings.

Lygia Clarke artist




  • Martin Healy show in the Crawford

martin healy


  • for our thesis – come back with more thought and reading done – to consolidate your idea – refine ideas and enquiries
  • 20th June – Lucy gone out of the building – tutorial advise until then
  • Situations – have a proposal presentation ready for where you would like to situate your work. Powerpoint etc for Lucy for 3rd May.  Where is your work going to be placed.  Who is it for.  Has to relate to your studio practice – fantasise about what the practice might be – could be removed from the norm of my practice.  10 minutes – 3rd May and presentations for Jesse in the morn.  Be bold!  Have fun!!!
  • Visuals of your studio work for your blog
  • 2pm – 4.30pm next week
  • Everyman Palace or Crawford gallery – for next week

Situational Reading with Lucy – 15th March 2016

Situational Reading – 15 March 2016

The session kicked off with Helle explaining her reading from the Whitechapel series.  We then went on to discuss the basics of putting together a bibliography and after a quick chat with Peter, the ‘artist in residence’, we discussed our reading for today, which was Museums on the Move.  We actually stayed in our studio for this one.  What follows are bullet points of the discussions etc

Helle – Exhibition (whitechapel)

  • Martin Beck – The Exhibition and Display = Display is an active occupation rooted by ….
  • Display – can be still or a movement
  • movement that is making the form in the exhibition
  • Helle recommends this as a good source of research for exhibitions
  • Pause 2002 = why choose this title for an exhibition – about time and duration and emptiness and rupture.
  • The placing of Pause = was in a park (pavilion)

Thesis referencing

  • 13th Sept = submission


  • Books – FORTY (surname), Adrian, Objects of Desire; Design since 1750, London: Thames & Hudson, 1986
  • Don’t put page no in bibliography unless ….
  • ibid = same thing again (ie – same book, different page)
  • 5 spacing for main body of text. Quotes more than 3 lines – separate block  indented from BOTH margins
  • extra info can be put in footnote – NOT counted as word count
  • Put the date of the edition you are reading
  • Harvard style = parenthetical referencing – this WILL count as your work count
  • Columbia style – for internet referencing
  • up – if you don’t have a page no esp. for internet
  • Lucy is going to email us the full document on bibliography notes



Museums on the Move – reading

  • Authors Daniel Birnbaum and Hans Ulrich Obrist – been around for years. Big deal in the art world
  • Jackie – non white cube – Venice opera house = what is this? – is it work on stage?
  • Lucy – how did the artists who participated think about it….it is so weird that it is almost radical.
  • Lucy – 4 artists in the 1960s who turned their practice into a performance. Made work while the audience sat  and watched.  Then they said that there was no show – non-exhibition – Daniel Buren, Tarounie, Mosie,Montea.  Collectively known as  BMBT – non exhibitions
  • Helle – museum as a bridge, plastic process…etc etc
  • Manuela: Critic of what a classical museum is, there and static – He wanted a place a lot more flexible, more movable
  • Topology of Terror
  • Utopian idea – the best museum is a museum with nothing in it = process – Lucy
  • Why is there a move away from traditional model
  • Jackie – they tried to de-commodify themselves but end up commodifying in the end
  • Lucy – odd sort of dynamic between the utopian idea and ultimately commodification
  • Itinerant curator – no static collection or space that they are dedicated to
  • Problem with putting a philosopher in charge of an exhibition! = nothing!!
  • Manuela: constant rotation of shows – You get a sense that it is a Museum, because of the building but the fact that there is a constant rotation of shows = becoming a more flexible and dynamic place – people are attracted to the constant change.  Access = getting better.
  • Lucy – a very well known contemporary artist advise museum and make radical event. Get away from ‘object’ = commodity
  • Olafur Eliasson – his ideas are incredibly rich but only a fraction gets done
  • Max – his concepts of time/interaction = facinating
  • Pompidou – you want the building to do something that will make people will interact it with it differently – Olafur Eliasson was trying to do the same
  • Is having ideas enough?
  • Whole idea = be more inclusive and interactive
  • Jackie – the data of who comes into the exhibition= measure of its success… gauging how much it worked
  • Helle – we view the art, but the art looks at us
  • Jackie – would love to see a bookies in a gallery – break down barriers or a racetrack inside or outside a gallery – something to do while you are waiting for your race
  • Mark Roleberg – Real work of art – Racehorse = its name – art can be where ever you put it!!!
  • opposite of static exclusionist = the utopian model
  • 2005 – What if, an exploration of Public Space by Cork Community Artlink – I explained how the public interacted with this very dynamic exhibition
  • Jackie – 2014 – her collective – open research practice – had a meeting place to talk about the concepts – a place to read/talk – quiet interaction – People thought ‘This is a weird performance piece…’
  • What am I meant to do in here? Some contemporary art and museums can turn people off – they don’t want to appear stupid or ignorant
  • Jackie: The White Cathedral
  • Helle – 2005 – They made an insurance office as an art piece – people liked it – there was a curiosity about the film – they could not get insurance = ironic
  • Robert Morris – Body Space….. – had to close it after a day because of insurance issues – people kept hurting themselves – art = supposed energy
  • Linda – James Turrell (light) – someone died in one of his shows – after people to sign a waiver
  • Lucy – James Turrell – wonderful sense of ambiguity – no sense of edge – pleasant place to be.
  • Linda – has to be there to fully appreciate it, you can’t get the full experience from a still in a book etc
  • Lucy – experiential art – sometimes you have to be in the mood.
  • Jackie – Turbine hall – is a place to allow different modes of connection
  • Various parameters – type of spaces, will of curator
  • Osmotic institution – aware of what is happening outside of the walls
  • Is it possible for a gallery to have an effect on the world
  • Jackie – it can change how you interact with the city – public art.
  • Lucy – Galleries – designed as empty spaces to be filled… art immediately put into ‘storage’
  • Rosemary – the fact that an exhibition was so ‘far out there’, it forced her to research more = changed her experience of contemporary and conceptual art
  • Manuela – go to an exhibition without any preconceived ideas – there is always something that is unique and informative… She has to dedicate at least a few minutes to each work, even if she didn’t like it, just out of respect to the work of the artist – the whole process… from selection… to invites etc
  • Max – interesting in museums – they don’t want what is being viewed to be’disturbed’ – Art pieces with cordoned off areas = what happens if you enter the ‘no – go’ zone… being in very busy exhibitions – how do you navigate – go against the tide!
  • Manuela – everybody with their phones – not interacting
  • Tomas Struth – photographer of how people interact in exhibitions
  • Lucy – the expectation of museum spaces
  • Lucy – utopian models still there, not given up on them yet
  • Linda – Grace Weir exhibition- final video was the instillation of the show – museums are bringing the process out to the wider audience
  • Vicky – As part of the Cork mid summer festival, she and some of her neighbours will be hosting artwork in their house. Residents will be brought to galleries to interact with art.  Her house will then be open to the public to view the art for 2 days.
  • Lucy – Conceptual art and aesthetics …… catalogue for the Boole exhibition – Pythagoras theory on the floor.
  • VNA, TATE library. aaaarg, art therory . monoscope, ubuweb = websites for downloading PDFs, experimental stuff.






Lucy – Situational reading – 8th March 2016

Lucy – Situational reading – 8th March 2016

These are the notes that I jotted down from today’s session with Lucy


Linda – Whitechapel  reading = Memory, Documentary, Moving Image

  • Swirling image
  • Collective journey in the cinema
  • Interaction with light
  • a filmmaker can take you into an experience, painter can only show you one frame
  • Seeing through someone else’s eyes – cinema
  • Chris Doyle – cinema
  • Emanuel Bellsky – cinema
  • Zhange Dong – Chinese contemporary artist = Enter the Dragon, Bruce Lee final piece (mirror piece) – mutating sound structure – 4 walls of mirrors moving onto different directions – reflective, refractive surface – transporting = LOOK THIS UP FOR MY OWN PRACTICE

  • How light is behaving within a space – cameraman always searches for this
  • Collective sense of experience
  • The misfortunates/The shittiness of things 2009 – Belgian movie
  • Being surrounding by loud noise can take you out of yourself
  • Beam of light and colour – cinema experience
  • Anthony McCall – making art out of the projector being and smoke, almost sculptural – Cones of Light – light!!! peepholes transporting = LOOK THIS UP FOR MY OWN PRACTICE

  • James Turell 
  • Kapor – column of steam



Art in the Knowledge-based Polis = The required text

  • Situating his practice
  • Wake up call – Trying to broaden the curriculum – becomes part of the curriculum
  • the system of art is a form of critic in itself
  • Jackie: The system is telling me to question the systm
  • Helle: when you become part of a system, you have to accept a system
  • Artist – are you inside or outside?
  • If you stay outside the system – is it possible to have a voice
  • underlying this – Foucault philosophy
  • Jackie: Artist is about questioning the situation you are in
  • Jackie: Its fulfilling its own role and validates itself – complicated reading
  • Art/Science divide – set of competitive restraints in the university system
  • Art practice – loose form of research – knowledge production – looking at new ways at what we are doing
  • Taking on a curriculum based system = can be too restrictive
  • one of the best ways of researching is by talking about stuff – this has become the norm in art practice today
  • caveat – warning or caution; admonition
  • been a rash of exhibitions about education – has been become decadent
  • After Easter – start thinking about thesis
  • 1000 words at end of semester for Lucy proposal


We then ventured to the Elysian, where after a look around several of the spaces, we settled down to read Michel de Certeau  ‘Walking in the City’  in the lounge of the show house apartment.

What follows are snippets of the notes that I took at this discussion

  • Foucaultian overview – visual
  • Certeau = would have known of/been part of the Situationist movement
  • TheSituationist International (SI) was an international organization of social revolutionaries made up of avant-garde artistsintellectuals, and political theorists, prominent in Europe from its formation in 1957 to its dissolution in 1972.[1]

The intellectual foundations of the Situationist International were derived primarily fromanti-authoritarian Marxism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism.[1] Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism.[1] wikipedia

  • Panoptic structure of power
  • Everybody is watching you! (in an urban setting)
  • The theory of everyday practice – demonstrate how things work and power distributions
  • New York: City of the grid – how can this be subverted.  It seems so clinically ‘practical’ but people have formed strong attachments and their identity is wrapped up in their surroundings
  • When you are walking, you are always displaced – and you are journeying to name, not a place
  • Lucy is going to email us the essay about the Eiffel tower as a comparison to this text. Paris’ streets were based on population control and military access.  They destroyed the original city in order to do this = power and control
  • Walking at street level = in opposition of looking down… it is a city you cannot see (the bigger picture of)
  • pedestrians use phatic noises to comfort fellow travellers
  • Walking is a kind of conversation/language
  • Matriarchal model – mother and child – the city has become the mother
  • Desire Lines – term used for when people cut through a corner of grass as a short-cut



















Situational Reading with Lucy – March 1st ’16

Whitechapel  readings

We discussed our choice of reading from the Whitechapel reading list.  What follows is bullet points from that discussion


  • Vicki – Book: Failure

Coming to things from the rawest perspective.  Not to come to music like a profession in and of itself

– Beginnings of ‘rules’ and departures from ‘rules’

– being willing to occupy the space that others consider ‘failure’

Hans Essel – viola

Brinie Fer – The Infinite Line – minimalism.  Difference in repetition.

– Auto-cohesive



Jackie -Book :Failure

  • necessary feedback loop between memory and imagination
  • how failure can really inform you in a way success cannot
  • we cannot understand reality without failure
  • recognition of failure as an important thing
  • how do we know when we’ve failed: because you didn’t succeed
  • your own intentions limit you – as an artist, how did you get around your own intentions?

Frank Stella – artist


Chris Burden – artist

  • zelwick

– a successful failure

– the preservation of ephemeral work




Manuala – Book:  Colour

  • how do other professionals use colours
  • western perception of colour = diff from world view
  • chromo phobia – essay
  • coloured = used to label people or group of people
  • Now: least colour as possible = considered sophisticated or chic
  • Carlos Cruz-Diez – artist in Paris – light/colour – RESEARCH THIS ARTIST FURTHER FOR MY OWN PRACTICE


  • phenomenon that changes throughout time – perception
  • political = colour
  • superblack = kapur copyright
  • klem blue = copyright
  • Drummond??? = artist
  • Pal Gonaz??? – Dutch artist who did up hospital


RoseMary – Book: Participation

  • Joseph Byes and Dick Schwartz
  • concept of class = No! concept of man!
  • literal truth and metaphysical truth
  • social sculpture
  • Claire Bishop – critical of participation
  • Thomas Hershaw…Henshaw????
  • Hans Haarker – sociologists view of art
  • Nicolas Bourriaud – critic, finger on the pulse of the ‘lastest thing’
  • social participation – tate debate



Max – Book: moving images and memory

  • Expanded cinema – 60s/70s
  • like sculpture, the screen/film was moved from its ‘home’ and moved around
  • the moving image became enshrined in academia in the 70s
  • home = head space that we psychologically retreat to
  • homeliness being internalised
  • space – suspended in liquid medium = memory
  • the homelessness of the moving image
  • homeless cinema
  • Bachilar???
  • Kraus – philosophy


Cat -Book: Systems and the Everyday

  • interdisciplinary ways of system
  • any time you look at a particular system, you cut off all the other connections
  • behavioural patterns over time is system based analysis through the everyday
  • constructivist ideology – when you understand systems you create a particular world but would be unaware of other systems underneath
  • From the everyday comes creation
  • creativity does not exist in a vacuum
  • lagoon – movable waterbased water – where does the water come from, where does it goes

Myself – Books:  Memory and Time and Painting

  • Quickly discarded the painting book
  • Got lost in tangents and exploring lines of enquiry suggested by the text
  • Just started reading Proust’s Binoculars (1964) by Roger Shattuck in the Memory book and am intrigued with the direct connections to my own line of enquiry into vision and perception


After easter = lucy is going to touch base with us of our readings etc



The ignorant school master – Jacques Ranciere

  • personae of the teacher completely pushed out of the way
  • learning out of necessity
  • Rancier – identifies with Jacatot
  • educated = kids more likely to be educated
  • school is just a way of teaching kids how to be workers
  • overall principal = great, nuts and bolts = need questioning
  • different ways of learning –
  • Sugata Mitra – ways of learning with computers
  • idea that we have to turn ourselves back into childlike learners
  • the desire to do something = you will learn skills to make this happen
  • Rancier – wants to refute the usual, that on a class based system – empty vessels that need to be filled
  • education = about producing efficient workers
  • The value of skill/knowledge – dismissed by Jacatot
  • Bouriout

Work Ethic – Helen Molesworth


Trip to Cork City Gaol

On a beautiful sunny Tuesday afternoon, we all piled into Linda and Manuela’s car and made our way up to the very scenic Cork City Gaol.  I personally have been there before, about 12 years ago but I still found the tour informative and interesting.  Our guide led us around the gaol and we visited the different cells to play court to the various inmates, albeit wax representations!  She explained their individual stories in context of the goal’s documentation.





An extra bonus was the stunning light that streamed into this imposing stone building, causing an interesting interplay of ephemeral light and shadows.  I got quite caught up with capturing this fleeting dance of fluid light.










After our tour, we all huddled in a circle underneath the overhead heater at the back of the gaol to begin our placement reading of Discipline and Punishment, Panopticism by Michel Foucault, (1975).  What follows are the disjointed notes and bullet points that I took from that converation

  • Foucault – The scale of his gaze is as from a ‘height’ – a bird’s eye view of social science
  • In the piece of writing itself, the body was the subject matter, whereas the middle was about the tower of Bentham’s Panopticon.
  • We had an interesting discussion on the effects the Panopticon or any building for that matter, can have on a viewer, and in terms of presenting art, be mindful how the art and the viewer interact with the building
  • We talked briefly about the need of many of us to be ‘present’ in our studios, because they were allocated specifically to us. – It is not a gift, it is an expectation.
  • There has always been something ‘scary’ about Utopian society, or maybe the consequence of the unattainable ideals thereof.
  • Robert Smithson = 1960’s artist
  • Interesting discussion on Safety v’s Autonomy
  • Art itself is a kind of institution,  We as artists have to inhabit that, but always be aware of placing ourselves within its framework.
  • “Artists are always aware of their position in society”
  • “Are we approaching things from the ‘inside'”
  • Jackie – “Art can start conversations about topics that could be closed in other facets of society
  • Alice Maher – her art was viewed and criticed differently depending on the political and social situation in which was viewed.
  • Be aware of the system and the power relations
  • Use writing as a process of thinking
  • Phalanstery – communist societies/ societies living together
  • Raunchier talked about the power of the viewer
  • Lauren Bient wrote a book about the death of Barth????
  • Benjiman Bouko ???
  • Michael Serres – french philosopher
  • You don’t need a physical place to be an institution; don’t need to situate institutions in a physical space
  • Art loves a vacuum!!!
  • Institute of Art v’s Art Institution

After our reading came to its natural conclusion, we broke into smaller groups, some exploring the gaol further.  A group of us hopped into Linda’s car and drove up to the abandoned section of st Anne’s for an exploration!  I have put photos based on this into a separate post. =)