Transart Institute 2009

Transcription

TransarT InsTITuTe | Donau unIversITäT Krems
TransarT
InsTITuTe
p e r f o r m a n c e s pac e
Tanzfabrik
Möckernstr.68, D-10965 Berlin
g a l l e ry s pac e
ConcentArt
Kreuzbergstr. 28, D-10965 Berlin
GraDuaTe exhIbITIon
TransarT
InsTITuTe
Tanzfabrik
ConcentArt
a n anti-introduction
4
Miranda ClarkSimon DonovanD
6
8
Rui GuerraKhaled HafezVictoria HindleyF
16
Tal rickards
28
18
20
Tricia SellmerHeather Thomas
30
32
David DunnNina Goldnagl
10
12
Florian KaepplerLuis lara MalvacÍas
22
24
Josephine TuralbaSamira ZamanI
34
36
Jennifer Grasso
14
Mark Nakamura
26
housekeeping
38
A n a n ti - i n t r o d u c ti o n
In some sense it is difficult to know how to begin a
So the difficulty remains of writing something that works in
piece of writing like this, although let us at least affirm that
some way, which engages with what is still as yet unformed,
we both consider it a great honour to be asked to do so.
and must remain so until the show is up. Something that
Perhaps, in an attempt to avoid any further prevarication, we
will fit in (and with what you, the graduating students
should follow the advice of our good friend (and sometime
have done), something that can become a part of the
colleague) Dr. Kevin Love, who always suggests that “one
assemblage of words, images, and objects that are in this
can never find a beginning, one can only ever make a start.”
catalogue and this exhibition, and subsequently a part of
the greater assemblage that we all participate in through our
Let us do that.
involvement with this programme.
The task at hand would seem to be to provide an
We use the word participants deliberately here, although
introduction to the catalogue for this year’s Transart Institute
we are, for reasons of historical accident and current
graduation exhibition, and at first glance that might seem
practicality, still enmeshed within a pedagogical structure
to be a reasonably straight-forward one. We have read such
which does not always reflect the realities of the Transart
things many times before, we have also written numerous
experience, being as it is predicated on a model of learning
similar pieces, and yet somehow, if one scratches the
which assumes that such traffic only flows in one direction
surface, there are always certain difficulties.
(from teacher to pupil).
Due to the pragmatics of the process of designing and
For both of us (and we strongly suspect that this is the
printing this catalogue, we find ourselves writing these
case for the rest of the faculty too) it is also of the utmost
words not knowing the precise shape or form the final
importance that we are learning too, alongside you, and
exhibition will take. Of course this is often the case with
as a result of this desire we prefer to see ourselves as
essays like this, and only the specifics of the situation
collaborators with you in a dialogical process that facilitates
vary. By means of remedy we might hazard a guess at the
critically engaged practice rather than simply as transmitters
content of the show; we are probably familiar enough with
of received ideas.
all of your practices through the monitoring and mentoring
that we have undertaken over the past year to do so, but
For us the key to successful practice, in either a
doing this seems a little futile. We are not interested in
pedagogical, academic, or practical context (or any
providing a commentary; we would prefer to let the artworks
combination of the above) is the ability of the practitioner
speak for themselves.
(we use this term here in its broadest sense) to respond
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t r an sa r t i n s tit u t e 2 0 0 9
flexibly and rigorously to the specific challenges and
This is not an end in itself, of course, though we are sure
requirements of a given situation or project. This is of
that at times it must seem like one. Certificates are a
course something which cannot be taught by rote, but which
necessity, of course, they are a passport to funding and
can only be learnt though individual processes of making,
recognition (though whether this should be the case in an
doing, thinking, and reflecting.
ideal world is perhaps debateable). For us though, what
is important about this process is the effect that it can
The media in which this process takes place are not
(and should) have on your practice. Participating in this
in themselves important, what is of importance is that
programme is not easy, nor should it be, and successful
the process takes place, and this is what we feel is the
completion is an indicator of the development of methods
cornerstone of the Transart philosophy, the thing which
and methodologies that are both critically rigorous and
links us all together. We may be forced, in order to engage
sufficiently robust to overcome the not insignificant
successfully with the wider academic and commercial
challenges of studying in this way.
contexts in which we are all situated, to assume the
respective roles of students and teachers, but what
With this in mind it is our sincere hope that the time we
unites us is our individual and shared commitment to
have spent together has been as enriching for you as
the importance of practice. In short, we are all
it has been for us, and that in some small way we have
practitioners here, in some sense or another, and this is
helped to facilitate the development of critically engaged
our commonality.
and sustainable creative practices, which are capable of
enriching your own lives and those with whom you come into
Similarly, we also find ourselves writing this to a
contact after your graduation.
deadline, knowing that as we write this all of you who will
be presenting your work in Berlin this summer are involved
Finally, we would like to congratulate you on your
in the similarly pressurised processes of resolving and
achievement (we know all of you quite well enough to be
producing the work that you will show. For you, of course,
certain that the exhibition will be a great success, even at
the task is a much greater one, as you will be expected to
this early time of writing) and we would like to wish all of you
present a substantial body of work that succeeds both as
who are graduating the best of luck and great happiness
art and as proof that, within the parameters of this course,
wherever your paths should take you.
you have developed your practice rigorously and attained
certain academic standards.
Michael Bowdidge and Sophia Lycouris
June 3, 2009
transart institute 2009
5
“ . . . romance, something to make life interesting,
just imagine it until it’s there.”
—will jennings
M ir a nda C l a r k
didn’t we almost have it all
the performative identity that is being played out is the bride.
for my wish-fulfillment to be complete i dream of being a bride three
times with three different grooms. as i investigate this narrative
there are many experiments and fictions. i seek fiancés, fill a closet
with wedding gowns, and collect rings like candy.
miranda is a small town girl, living in a lonely world.
she holds a bachelor of arts in sociology and studio
art from colgate university. in her work, she references
feminine archetypes found in fairy tales, pop culture, and
contemporary art. she explores experimental theaters of
memory through reclaiming, making, and retelling.
i am performing, playing, and telling. i will recite my vows and say, “i do.”
she loves the smell of wine and cheap perfume.
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TransarT InsTITuTe 2009
7
Simon D onovan
Under-lying Conditions
What do I know from truth? Intentions? Identity? I was born to lie, to construct
a façade, to tell a whopping tale. The real question regarding doing is not “why
bother?” nor is it about trying to define who I am. It is whether it is possible
for me to completely have my say during my limited time on this stage. And the
hope is that the confessional narrative holds the power to transform myself and
others with God as my witness….oh well, perhaps you’ll do.
8
Simon Donovan was born into a family of horse
thieves, an unfortunate trade as they lived in
Boston and only the police rode horses. He grew
up to make equally fruitful career choices, such as
moving to the Arizona desert to sell snowshoes.
Tired of being broke, he is now a practicing
performance artist. His mother is so proud.
“I'm writing an unauthorized autobiography.” — Steven Wright
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Spectrogram of Sounds from Logos ex Machina
o p p o s i t e pa g e
Chaotic Attractor at Core of Autonomous Circuits
Hydrophone Transducer
Machine Modeling of Biological Autonomy
Ultrasound Transducer
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t r an s a r t i n s tit u t e 2 0 0 9
David D unn
Micro-Listening and Autonomy
A number of questions are consistent throughout my work: what does music
contribute to our understanding of the question of mind? What is accomplished
by strengthening our aural sense within a visually dominant culture? What is
gained or lost by a shift towards an aural perception of the world? How can art
participate in the discovery of solutions that can accelerate or extend those of
science? Underlying all of my work is the common regard for sound and music
as a communicative source with a living world.
The sounds of various micro-worlds were all recorded with custom-built
transducer systems that provided access to different vibratory substrates or
frequency domains: sounds that occur in places, materials, or ranges that we
cannot ordinarily perceive. Novel audio technologies can be understood as
instruments to extend the limits of our auditory perception.
Likewise, autonomous audio devices model and articulate an underlying
assumption of biological autonomy. After initial conditions are established
through the setting of a few potentiometers, the coupled circuits are allowed to
behave autonomously in a self-organizing manner. The sounds produced by the
circuits emerge as a type of “conversation” that is allowed to continuously drift
through novel behavioral domains.
The intention is not to simulate the high level functioning of biological
organisms and their cognitive capacities but rather to take this question
down to its most primitive level of autonomous-closure machines where selforganization is more obviously inseparable from behavior. These circuits should
be understood as a metaphoric machine expression of the autonomy of the
living rather than as information processing devices.
David Dunn is a composer who rarely presents
concerts or installations and instead prefers to
lecture and engage in site-specific interactions or
research-oriented activities. Much of his current
work is focused upon the development of listening
strategies and technologies for environmental sound
monitoring in both aesthetic and scientific contexts.
Born in 1953 in San Diego, California, his education
was largely unconventional. From 1970 to 1974, he
was an assistant to the American composer Harry
Partch and remained active as a performer in the
Partch ensemble for over a decade. Other mentors
included composers Kenneth Gaburo and Pauline
Oliveros, in addition to Polish theater director Jerzy
Grotowski. He has also been the recipient of over 35
grants and fellowships for both artistic and scientific
research. In 2005, he received the prestigious Alpert
Award for music, and the Henry Cowell Award from
the American Music Center in 2007.
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Ni n a Gol dnag l
Where are you?
Where were you?
People and the lives they live
inspire my work. Portraits and
situations within everyday life
catch my attention.
This work is about my father and
me. During the past year I have
photographed him in different
situations and moments.
Further, I documented the places
we had spent time together
when I was a child. Pictures of
things and various moments
that I associate with him and our
relationship are also part of this
inquiry.
The collection of photographs in
this work represents my memory
and my thoughts.
The work raises questions I did
not ask before.
It explores the notion of
glorification, personal memory,
delusion and desire.
12
Nina Goldnagl, born 1971 in
Vienna, Austria, received her BFA
in Photography from Parsons
School of Design, New York in
1995.
She is an artist-photographer with
a special interest in portraiture
and documentary art making. Her
work is about memory, longing,
dreams, and desire.
She works with traditional black
and white film as well as digitally.
Her work has won prizes (IPA
Award, Px3 Paris) and has been
widely exhibited.
top
Are you here?
bottom
Where were you?
o p p o s i t e pa g e , t o p
What’s important?
o p p o s i t e pa g e , b o t t o m
Did we laugh?
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Jenn i f er Gra s s o
untitled (…)
For me, art is always changing.
It engenders a dialogue with the
viewer. It is an experience.
The installation artist Robert Irwin
stated, “My art has never been
about ideas…my interest in art has
never been about abstraction; it has
been about experience...my pieces
were never meant to be dealt with
intellectually as ideas, but to be
considered experientially.”
There is a tension that occurs within
non-representational art—a tension
between revealing and concealing.
It is a dance that oscillates between
knowing and not-knowing. It is through
manipulating this tension that I hope
to create an experience for the viewer.
There are no underlying visual
metaphors, symbols or messages
being expressed. This work is about
visual perception—questioning
and playing with what one sees,
experiences and feels. The work
manifests itself only through audience
participation. Lacking any clearly
recognizable visual information,
the “blanks” must be filled in with
imaginative and, more importantly,
active audience participation, creating
an individual and unique experience of
the artwork for each viewer.
I think art should leave you wanting
more. Press play, watch, and then let
your mind provide the rest.
14
Born in Connecticut, USA, Jen Grasso
earned her BA in photography from the
School of Visual Arts in 2005. After moving
to Berlin, Germany, Jen expanded her praxis
to include film and video. Working strictly
with analog techniques in the past, Jen now
considers the amalgamation of analog and
digital technologies as a type of creative
collaboration which embraces the ethos
of new media practices today. She works
primarily in the realm of creating visual
experiences that challenge and expand
imaginative capabilities and perceptions,
specifically within time-based media. She
also likes carrot sticks.
All images are film stills from untitled (…)
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Rui G uerra
www_hack 2.0
The project www_hack 2.0 is a creative
installation consisting of several computers
in a single room, working independently. It
is based on the fact that in computer user
interfaces, the mouse cursor or pointer is
the digital representation of the user. Taking
that in consideration, the movement of each
person in a room is translated into a moving
cursor displayed by the nearest computer.
www_hack 2.0 is an allusion to the so called
social web or web 2.0, where the interaction
between humans is mediated by computers.
In the model of the social web, different users
meet in a virtual space in order to interact
or socialize while using different computers.
In the case of www_hack 2.0 that model is
inverted. Users move in a common physical
space, while their digital representation is
shown in different screens. When two visitors
are literally close, two cursors might appear
in a single screen. Such phenomena is rarely
observed on digital systems.
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In-between
In-between is a series of portraits depicting a
person in several stages of a given situation
or task. Each portrait is composed by several
photographs shown side-by-side in chronological
order. However, the images are static and do
not capture motion as in the case of Eadweard
Muybridge’s photographs. The transition between
each image or frame is only implicitly understood.
By using this construction, the portraits represent
a person in several stages of an untold activity.
Rui Guerra (1979) is involved in open source culture
with a critical view on communities. His works make
use of several media such as photography, video, online
and offline installations. Besides teaching at several
academies in The Netherlands, he has initiated selforganized communities such as INTK in Utrecht and
unDEAF in Rotterdam. His work has been exhibited in
several art festivals and he has collaborated with several
institutions such as V2_: Institute for Unstable Media,
Piet Zwart Institute both in Rotterdam (NL), The Royal
Academy of Art in The Hague (NL), Arnolfini in Bristol
(UK), The Art Organization in Liverpool (UK), Observatori
in Valencia (ES), 0508 in San Juan (PR), Sentidos Gratis
in Porto (PT).
17
K h aled Haf ez
The A77A Project: On Presidents & Superheroes
For the A77A Project: On Presidents & Superheroes, I applied a
battery of techniques I used in my previous two videos: Visions of
a Contaminated Memory (2007, Sharjah Biennale) and The Third
Vision Around 1.00 pm (2008, the 3rd Guangzhou Triennale, the
2nd Thessaloniki Biennale); I wrote the script while collecting stock
footage and images from different sources. For the A77A Project,
I used telephone imagery posted on different bloggers’ spots
and contemporary street imagery taken by lay citizens with their
telephones and compact digital cameras. I also joined the hundreds
of bloggers by posting my own images; I used a telephone camera
and a compact pocket camera that was ready in my canvas bag
wherever I went. Most of the time I shot during daylight, as the
precision of images was not as important as the overall changing
cityscape. I stitched all the images in a linear pattern to create one
backdrop cityscape where the superheroes dwell. To complement
my work, I grabbed images taken by anonymous authors, removed
their backgrounds on Photoshop, and inserted them on the visual
track as backdrops for the superheroes.
I am intrigued by how such a “democratized” practice, made
available by anyone and available for everyone, becomes an open
source of information beyond censorship and intellectual property
rights constraints.
The work is made by using two figures from one of my large-scale
canvases and making them, through cartoon animation, possess a
3-D figure that metamorphoses into my favorite ancient god, Anubis.
The newly created and possessed Anubis dwells in the streets of
urban Cairo today, intermingling within paradoxical situations. The
video, for the first time, incorporates my painting elements and
moves them in animation. The work documents the current state of
the streets of Cairo, once described as one of the most beautiful
downtowns in the world.
The music score for the video was created from free source digital
loops, and mixed at a professional sound studio to incorporate the
soundtrack of the famous Nasser post-defeat resignation speech of
June 1967.
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Born in Cairo, Egypt in 1963; Khaled Hafez lives and works in Cairo.
From 1981 to 1990 he attended evening classes at the Faculty of Fine
Arts, Helwan University while studying medicine.
Hafez’s group shows include: Tarjama/Translation, Queens Museum of
Art, NY, USA, 2009; Thessaloniki Biennale, Greece, 2009; Deconstructing
Myths & Reality, Galerie Caprice Horn, Berlin, Germany, 2009; Unveiled:
New Art from the Middle East, Saatchi Gallery, London, UK, 2009;
Guangzhou Triennial, Guangdong Museum of Art, China, 2008; Gates
of the Mediterranean, Palazzo Piozzo, Rivoli, Turin, Italy, 2008; Contact
Zone, Bamako Museum of Art, Bamako, Mali 2007; The Present Out
of the Past Millennia: http://kunstmuseum.bonn.de/ausstellungen/
vorschau_e.htm, Kunstmuseum Bonn, Bonn, Germany, 2007; This Day,
Tate Modern, London, UK, 2007; Sharjah Biennale, UAE, 2007; Without
Title, MuHKA Museum of Contemporary Art, Antwerp, Belgium, 2007;
Singapore Biennale, Singapore 2006; Dakar Biennale, Senegal 2004
and 2006.
His work is in the following public collections: The Saatchi Collection,
London, UK, MuHKA Museum of Contemporary Art, Antwerp, Belgium,
Ars Aevi Museum of Contemporary Art, Sarajevo, Bosnia, Mali National
Museum, Bamako, Mali.
© 2009 Khaled Hafez. Concept, Script & Storyboard Khaled Hafez; Editing
& Animation Ahmed Elshaer; Musical Concept Khaled Hafez; Music Score &
Mixing Ahmed Saleh; Duration 3 minutes 40 seconds with credits.
19
“Narrative seems a quick and easy diversion from the more difficult
challenge of actually trying to see.”
— Uta Barth
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t r an s a r t i n s t i tu t e 2 0 0 9
ViCtO ria HinDL e Y
My work explores the cultural construction of meaning(s). Minor Spectacles,
my current body of work, is about the conscious activity of seeing beyond
codes. It’s about what we see and choose not to see, and about the myths we
participate in knowingly or unwittingly. I am particularly interested in the transient
in-between spaces where meaning resists codification.
I work with strategies of decoding such as decontextualization, appropriation,
and abstraction to explore questions about stereotypes, cultural obsessions,
and institutionalized constructs. I try not to give what is expected of words,
photographs, or book forms but something else that engages us in the
experience in front of us. Rather than directing the viewer’s gaze through a
narrative, I want to undo habitual acts of seeing and encourage the instinct to
discover singular experiences. I think of such disturbances of the familiar as an
emancipatory gesture, a way to reveal the poetic underbelly—those expressions
that elude us when we chase them with narrative.
Victoria Hindley is an artist, writer, and independent
curator who works with photography, language,
chance, disruption, and atypical book forms. She
has studied literature, art, and semiotics in the US
and Europe. Her work has been widely exhibited
and collected by individuals as well as institutions
including the US Library of Congress. Her work
has received numerous awards from national and
international organizations including the American
Institute of Graphic Artists, New York and the New
York Guild of Bookworkers.
ABOVE
Pay Close Attention to Size of Pill Before Swallowing, aka,
the Book of Answers 2009
Artist’s Book, letterpress printing, hand bound in
aluminum; interior page, 33 x 30.5 centimeters
O P P O S I T E PA G E
Select excerpts from Archive of Provisional Traces 2009
21
Symphony of the Names
through a musical composition-matrix, letters of the alphabet are
allocated to single notes of an automated grand piano
software transmits the letters of the names, belonging to the known
victims of the holocaust, to the grand piano
every name creates a unique melody, one after the other they
´compose´ a symphony that lasts for years
the lost names are expressed through pauses
can this musical manifestation reflect a part of the personality, the
aura, or the dignity of the deceased?
is it possible to commemorate musically?
Flor i a n K a ep pl e r
if you just listen long enough—can you recognize the melody of
certain names?
After studying jazz and film scoring in Stuttgart,
Hamburg, and Boston, Florian Kaeppler became a
sound-artist and film composer. He composes audio
works for art projects, films, events, and museums.
Memory of the Trees
Many of Kaeppler’s sonically designed projects
have been credited with national and international
awards. In 2007, his soundtracks were exhibited, in
association with the film works of director Andreas
Hykade, at the Museum of Modern Art, New York
(MOMA).
round slices are sawed off the trunk
In his independent works, Kaeppler tries to leave
behind his role as an actively producing composer
and create installations that “compose” themselves.
22
a 120 year old dead standing tree is cut down
a dendrochronologist scientifically identifies the years of the tree rings
a standard record player plays-back the tree rings
does the tree have an audible memory?
can you relate to the acoustic information?
can you recognize a difference between certain years?
23
Luis L a ra Ma lvac Í as
O–level
My work is about ideas of transformation
and change. I have been intensely interested
in exploring the interaction between dance,
design, installation, sound, and the visual
arts, playing with the blurred lines between
“the observer and the observed.” In
deepening this relationship, I have created
and performed interdisciplinary works
inspired by this investigation. I create
work that does not offer a particular focal
point but an intellectually and artistically
reflective experience and emphasizes the
organic relationship between art and the
events of everyday life. In empowering
the audience I offer them not necessarily
obvious references but environments that
are at once dynamic and evocative, symbolic
and metaphoric—conveying surprising
juxtapositions of movement and contextual
references, which allow them to take
responsibility as co-creators of the work.
24
Born in Venezuela, Luis Lara Malvacías, is a
choreographer, performer, designer, and visual
artist among other things. He has presented and
performed his work in several dance venues in New
York and in several countries in South America,
Europe, and Asia. He performed with the company of
John Jasperse, winning the Group Performance Award
at the Rencontres Chorégraphiques Internationales de
Bagnolet in Paris, 1996.
He was a 1998/1999 and 2002/2003 Movement
Research Artist-in-Residence. He has received
support for the creation of his work from the MAP
Rockefeller Funds, Arts International, The Jerome
Foundation, Sasha Waltz & Guests, and was the
recipient of a 2006 NYFA Fellowship for choreography.
He has created dance work for repertory companies
in Caracas, Milan, and New York as well as for
several universities and dance schools in the USA,
Austria, and England. He has taught at dance
schools in New York and several colleges and
universities in the USA. Internationally, he teaches
regularly throughout Europe and has been invited
to teach in Japan and in several countries in South
America. He is a regular teacher of the Sasha Waltz
& Guests Dance Company in Berlin, Christian Blaise
Company in Grenoble, and annually he coordinates
the collaborative interdisciplinary art project for the
students at The Northern School of Dance in Leeds,
England.
He has created several performance–installations in
non-conventional spaces including pools, gardens,
basements, and train stations. In 2000, at the Asyl
Gallery, NY, he presented Purchase, an interactive
performance installation, that challenged the usual
perspective of viewer and performer; the audience
has the opportunity of choosing the dancer(s)-setmusic-costumes and seeing their own performances
in a chosen installation space. His visual work,
including painting and installations have been shown
in the USA, Venezuela, Spain, Colombia, Peru,
Argentina, Chile, and Brazil.
All photos from installation-performance piece, Obscure
Level. Photos from still videos: Luis Lara Malvacías.
25
M ar k N a k a m ur a
Studio Work 2007
C-Print on Paper
Studio Work
Studio Work is an ongoing project that involves the production of a series
of motivational text-based paintings that are displayed in the artist’s
studio and used to encourage further studio-based art production. Beyond
creating a superficial need for using a studio space, Studio Work examines
the role of the studio and physical labour in creative production. The text
works also reference motivational posters for workplaces and thereby
draws a parallel between an office environment and an artist’s studio.
The obvious and sad irony of Studio Work is that the meticulous and timeconsuming hand-painted works being churned out in the artist’s small and
pathetic studio do not go beyond the motivational, and therefore never
result in the production of the kind of artwork that the texts refer to.
26
Mark Nakamura is a visual artist based in Vancouver.
Through efficient and often humorous gestures,
Nakamura interrupts pre-established codes of reading the
images and objects that pervade daily life. He challenges
his viewers' perception by creating artworks that play with
conflicting functional and conceptual values. For a work
entitled, Temporarily Unavailable (MUMOK), Nakamura
recreates the display for an artwork that was temporarily
unavailable for viewing at a museum in Vienna, which
includes a sign and wood support bar used to hang a
painting. Nakamura plays on the tentative nature of how
his artworks function. While they allude to something in
progress, they are an end in and of themselves.
left
Finish It (The Fountain)—Juan’s Apartment 2009
C-Print on Paper
below
Don’t Stop Believin’ (Journey) 2007
Watercolour on Paper
Mission Accomplished (The War On Terror) 2008
Wire
Great Job! (Tim & Eric Awesome Show, Great Job!) 2008
Watercolour on Paper
27
a b o v e , o p p o s i t e pa g e
The Leap, video stills 2009
Directed by Tal Rickards
DVD, Running time 2:21, Edition of 6
28
Tal J. Rickards was born in Jamaica, his
heritage stem from Africa, China, and
Scotland. Though he loves Jamaica, he
resides in Miami, Florida.
In 2007, Rickards’ work was published
in the Miami Contemporary Artist
book, he was considered amongst a
number of significant artists who have
contributed to the emergence of the
Miami art scene, which has generated
national and international recognition
and has host Art Basel for the last
seven years.
Tal Ri c k a rds
The Leap
The Leap documents a long jump, with specific focus on the athlete in action running
down the track and leaping into the air. There is, however, also an attempt to mix into
the framework subtle audio tape recordings that, in a certain sense, represent some
of my own personal internal psychological issues and struggles.
The audio tape recordings include random but personal discussions and conversation.
By implementing this attribute my goal is to emphasis the internal strife and even
psychosis one often passes through en route to transcendence.
My work, in both direct and indirect ways, tries to examine these internal struggles
and dilemmas that can hold us back from our full potential and ability to experience
change, transformation, and transcendence. In The Leap, this is done not by trying
to provide some kind of psychological technique to transcend negative states, but
perhaps by simply showing the viewer that the timeless transcendent moment is
already there, if only we can become aware of it and fully partake in it.
The Leap is a portrait of me as an athlete, a competitor, and a man facing transitions
in life. Swami Jyotirmayananda states in his book, The Art of Positive Thinking, “You can
evolve to unimaginable heights by directing your mind towards that which is positive.
On the other hand, if your mind is directed in a negative manner, you can degrade
yourself to unimaginable states of humiliation.”
Currently, Rickards expresses his
art through the media of video and
photography, both work hand in hand
for him to create cinematic allure. Video
and photography mesh together, offering
the capability to create and transform
Rickards’ ideas into articulate and
profound scenarios.
Selected exhibitions include a solo show
(2006) held at Miami’s Government
Center in the heart of its transient
downtown, the 2008 Curator’s Eye III
showcase, an annual juried group show
held in Jamaica at its National Gallery,
and, showcasing one of his videos, The
Fourth All-Media Biennial (2009), held at
the Art and Cultural Center of Hollywood
in Hollywood, Florida.
In 2006, Rickards was accepted to the
New Media, MFA program at Transart
Institute, located in upper Austria. The
opportunity offered him the advantage
of traveling abroad to Europe and the
Middle East, visiting such places as
Israel, Jordan, Egypt, Italy, Austria, and
Croatia. The priceless experience of
travel has influenced his work and
outlook regarding different cultures as
well as his interaction with locals in his
own community. Rickards will receive
his MFA in 2009. He is grateful for the
opportunity to have partaken in this
unique program, which helped broaden
his views and perspectives.
29
Tr ic i a S el l m e r
Victorine Meurent: Erased
For the past fifteen years I have concentrated
on making the invisible visible. My paintings and
drawings have probed the inner and hidden workings
of a garden. The garden imagery has been extended
further to become a metaphor for the feminine and
female(ness) of voice and as such some pieces
include traditional female activities such as stitching
and quilting while other work will use a computerized
loom, video installation, or an intervention.
Over the past two years I have explored and
uncovered the life of Victorine Meurent, one of
Manet’s models. Through text, visual imagery, video
installation and interventions I have sought not only
to return her voice but also make her visible. My
quest is to right a wrong.
Tricia Sellmer is a multi-layered, multi-media Canadian artist
working primarily within the parameters of painting and
drawing. Her interests are three pronged. The first probes
the hidden workings of a garden. The second finds the
extraordinary in the ordinary and focuses largely on the
domestic lives of women and in particular those lives that
have been silenced. The third connects the dots and blurs
the boundaries between genres, often in collaboration with
other artists who work in a different medium. She holds
degrees from the University of British Columbia and the
University College of the Cariboo. Her work hangs in public
and private collections throughout North America
and Europe.
top right
Detail from Pursuing Olympia 2007
Willow stick and pigment on paper, 30 x 22"
bottom right
Victorine Meurent’s place setting for Intervention 2008
Silk velvet, sateen, porcelain, cotton, silver, aluminum, 36 x 60 x 5.5"
30
left
Dolly in the Grass 2008
Oil on canvas, 72 x 47 x 2"
bottom left
Victorine Meurent: Erased (cover), 1 of 25 2009
Letter-pressed, handmade paper, linen thread,
7.75 x 7"
below middle
Victorine Meurent: Erased, plate 1, 1 of 25 2009
Silkscreened, 150 gsm Frabriano Rospina paper,
7.5 x 7"
below right
Mirror, Mirror 2007
Oil on linen, 60 x 80"
“Art History is a collective fiction, not written, always rewritten, written wrongly,
but always attempted to be rewritten correctly.”
— Peter Weibel
31
32
H eath er T h o mas
Mute Traces
The instability of loss through trauma is an incommunicable
experience. Between individuality and anonymity trauma exerts
a sort of polarity. Language is difficult, almost impossible.
Trauma suspends reality by unhinging memory to the point
where this absence of representation becomes the trauma.
In attempting to represent the unrepresentable, a language
characterized by visual metaphor has been employed.
These traces are shards of memory from individual lives that
take the form of an object which speaks to the absence of the
body and with its repetition to social injury.
Heather Thomas was born in Nova Scotia and lives on Vancouver Island.
She has worked with the notions of toxic balance and conflict. Selected
solo exhibitions are Wounded, 2008, The Kelowna Art Gallery; The
Physics of Power, 2007, The Nanaimo Art Gallery; and Saturate, 1999,
at Open Studio in Toronto. Residencies include Centrum in Washington
State, The Banff Centre in Alberta, and The Contemporary Artist Center
in Massachusetts.
mute traces 2009
Fabric, sateen, screenprinting, pellet gun leads, and aluminum, 10 x 4 x 7'
33
34
Jo s eph in e T u r alb a
Diwata (Goddess)
Negotiating influences from different cultures, both as a
native of and a stranger to these, I take on a multi-layered
investigative approach to both place and time and its
relation to my sense of self.
Diwata is an exploration of place, boundaries, maps—an
investigation of territories as well as a mapping of
memory and travel, both mental and physical. I am
perplexed with the relationship of statistics, institutional
documents like location maps, land titles, and numbers
to the actual place and people who live there. Stories of
the past never really translate into the delineated charts
we use to navigate through territory. Diwata (Filipino for
devadha), originating from the Sanskrit word dev for deity,
transforms genius loci (guardian spirit of a place) into a
critical spirit, a link between past and present.
Experimenting with performance, installation, sound
and video, this project focuses on the discord between
the historical archive and the real experiences of a
past time; employing a palimpsest of document and
fiction; transporting viewers out of the realm of ordinary
perception into a state of heightened awareness. Born in 1965, lives and works in Manila, Philippines. Josephine
received her BA in Psychology from the University of the
Philippines; along side many years of studio art practice with
different private tutors, took art courses in France and then,
studied gemology and jewelry design at the Gemological Institute
of America. Her jewelry works have been exhibited in Italy, and all
over Asia, receiving top prizes at the Tahiti Pearl Trophy 2003
and 2005.
With her beginnings in painting and jewelry design, she has
recently expanded her range of media to include experimental,
digital, time-based media, installation, performance and sculpture.
She exhibits internationally having participated in solo and group
shows in Germany, Malta, United States, and the Philippines.
35
Sami ra Z a m a n i
The lost thing
The major issues I try to pursue in my artworks are related to the concepts of
identity and belonging. How is identity shaped with respect to the surrounding
environment? How clear are these shaping effects to an external viewer? And
what is the relationship between these effects and the concept of belonging?
These influences, transparent or opaque, sensible or puzzling, are inseparable
parts of the characters in my stories and illustrations. The characters might
understand the effects as a result of sequential experiences or they might
lose this understanding under certain circumstances, but they always feel that
something is missing and they search for that something just as I have.
Samira was born in Esfahan, the city of colours and
motifs, located in the heart of Iran where a love for
the arts is instilled in her memories of childhood.
She also inherited a love for nature and abstract
drawing from her studies in agriculture and graphic
design.
Her interests include literature, illustration,
printmaking, and photography. Her illustrations have
received recognitions from a number of international
competitions and been exhibited in many countries in
recent years.
o p p o s i t e pa g e , t o p
A new home 2009
Collage, 16.8"
o p p o s i t e pa g e , b o t t o m
Looking for a missing spot 2009
Collage, 16.8"
above
Working in the factory 2008
Etching, 13.8"
right
The haunting field 2008
Etching, 13.8"
36
37
2007 – 20 09 m em b e r s o f t h e fac ulty an d s tu d en t men to r s
Faculty
Mentors
Myron Beasley
Patrik Andersson
Ruth Bianco
Lynn Book
Lynn Book
Michael Bowdidge
Michael Bowdidge
Jean Marie Casbarian
Gaye Chan
Martina Corgnati
Jean Marie Casbarian
James Crutchfield
Administration
Geoff Cox
Aganetha Dyck
Univ.-Prof. Dr. Peter Baumgartner
Claire Daigle
Carolyn Guertin
Department for Interactive Media and
Nicolás Dumit Estévez
Heemskerk & Paesmans
Carolyn Guertin
Jayne Holsinger ’07
Thomas Helyar-Cardwell
Leon Johnson
Christopher Hewitt
Svjetlan Junakovic
Leon Johnson
Klaus Knoll
Aaron Levy
Sophia Lycouris
Sophia Lycouris
Bady Minck
Klaus Knoll
Cate Rimmer
Stephen Kovats
Duba Sambolec
Nancy Price
Ron Terada
Rosina Santana
Denise Uyehara
Gebhard Sengmüller
Jean-Louis Vidiére
Wolfgang Sützl
Debra Werblud
Accrediting institution
Donau Universität Krems
Dr. Karl-Dorrek-Str. 30, 3500 Krems, Austria
Europe: +43 (0) 2732 893 2051
Educational Technology
Cella, MFA
Co-Director, Transart Institute
Klaus Knoll, Dr. Phil
Co-Director, Transart Institute
Nandita Sharma
Edit orial: Mir an da cla r k, vi c t o r i a h i n d l e y
De s ig n: Jean Ne Cr isco la ’08 | C r i sc o l a D e sig n
Mary Ting
Jeff Thompson
Ming Turner
Marjorie Vecchio
38
Cl a s s of 2 0 0 9 w e b s it e s
Miranda Clark | http://www.mirandaclarkproductions.com
Simon Donovan | http://www.simondonovanpresents.com
David Dunn | http://www.davidddunn.com/~david
Nina Goldnagl | http://www.goldnagl.com
Jennifer Grasso | http://jengrasso.blogspot.com
Rui Guerra | http://www.ruiguerra.com
Khaled Hafez | http://www.khaledhafez.net
Victoria Hindley | http://web.mac.com/victoriahindley
Florian Kaeppler | http://www.floriankaeppler.com
Luis Lara Malvacías | http://www.laramalvacias.org
Mark Nakamura | http://shugobot.wordpress.com
Tal Rickards | http://www.talrickards.com
Tricia Sellmer | http://www.triciasellmer.com
Heather Thomas | http://web.mac.com/hmthomas
Josephine Turalba | http://www.josephineturalba.com
Samira Zamani | http://www.samirazamani.com
39
www.transartinstitute.org
TransarT InsTITuTe | Donau unIversITäT Krems
TransarT
InsTITuTe
Tanzfabrik
ConcentArt
GraDuaTe exhIbITIon

Transart Institute 2009

Transcription

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