Plucking them from the trees and opening the cloth to reveal the mud shapes, the fire pit dried them into fragile, cracked artworks. We performed the making by digging the mud material from the ditches, filtering through the cloth and hanging them on the trees then tending the sculptures day by day until they were ripe. The work became involved in geological relations between the soil, human culture, and nature. We have been particularly inspired by the idea that everything emits time, as well as the deep understanding of the existence of others. We saw the layers of fallen trees and undergrowth growing out of the destruction of the old, into hypercities of bugs and critters, birds and plant life. Reading sections from Timothy Morton All Art Is Ecological, Thomas Nail Theory Of The Earth, and Fredric Jameson Archaeologies Of The Future, we developed thinking about co-existence, re-wilding, place and space. We started from the writings of Schelling about the cosmological intricacies of the system of nature, art and culture, just as much as BBC documentary series Around The World In 80 Gardens, alongside the concrete ideas of borders, nations and communities in relation to mud. Spread a vocation of happiness, which revokes the need to kill …ĭuring our residency at Milford House, we developed our ongoing project Growing Sculptures From The Land, where we investigate the landscape through performative sculpture making. Let poetry of life be our absolute weapon, writes Raoul Vaneigem, because it captivates without capturing, gives and does not appropriate, These actions refer to poetry, to its etymological sense of “do in the making”. In relation with elements (earth, water, fire, air), materials (stones, branches, leaves, feathers, blood, ashes, salt …) or simple objects (candles, balloons, typewriter, harmonica, grater,…).These actions are fragments of a continuous process, which is transformed by the space, the time, the meeting of those who witness it, by my life and its experiences. My work usually starts with an intimate experience which is “translated” into an artistic action/gesture.Īn ephemeral action, created in situ, achieved with ordinary resources. To treat my body as a field of experimentation, in a society that would treat it superficially or would To explore paradoxes of the human condition. To develop links between art and life, thought and the action. Pragmata is one game we'll definitely be keeping our eyes to the skies for more of.Art Performance is my main artistic medium, in terms of research and practice. Unfortunately, we'll be waiting quite a while for additional information about this one, as it's not set for launch until 2022. It's completely unclear what's going on, and that's usually the hallmark of a Kojima game, as fantastic as they are. Through the pair's interactions, it becomes somewhat murky whether or not they're in a simulation or involved in some kind of bizarre situation where they're on another planet as the closing trailer shot finds them looking back at Earth from what appears to be the moon. One of them, a little girl, seems to become real as he walks toward the spaceman. There are memories of animals, children, and the busy lives of the citizens play out in real-time. Instead of a weapon, however, one of the items allows the astronaut to use a capsule to see what happened on the formerly crowded streets. On his back is some type of apparatus (it's somewhat reminiscent of the Odradek from Death Stranding) that can create pockets from which the astronaut can remove weapons and other items. The trailer is mesmerizing, despite being a bit confusing, as it shows a man in a spacesuit wandering around the streets of what appears to be an abandoned city.
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