My Body Asking Your Body Questions: VestAndPage (Verena Stenke & Andrea Pagnes) interviewed by Valeria Romagnini & Karlyn De Jong (Personal Structures |GAA Foundation)
(2015)
author(s): Andrea Pagnes
published in: Research Catalogue
Complete and revised version in origin of the interview with performance artist duo VestAndPage by Valeria Romagnini with additional questions by Karlyn De Jong, partly published in Personal Structures, vol. II, 2013. The artists analyze in depth issues such as the "here and now", the position of the Self, the value of freedom, relational paradigms and the importance of the audience.
Keinuva käynti ja muutoksen tila
(2015)
author(s): Marika Orenius
published in: RUUKKU - Studies in Artistic Research
In my text, I ponder a process of making and researching art. As in my doctoral thesis (Home base - bodily response and spatial experiences processed to works of art) I shall now go through the process as an opening to a multiple spatial and temporal thinking. In addition to some philosophical reflection, I approach the social and political meanings of space-time and corporeality. Of these subjects, I have filmed various spaces for my upcoming video installation. The working title of the process is Parousia. The video material shown in the exposition is the raw material of the work.
RAW ART
(last edited: 2015)
author(s): Christopher Hollins
This exposition is in progress and its share status is: visible to all.
Presenting unguided paint, unformed clay, jumbled sounds, or undisciplined movement as art brings recall of a natural raw way of sensing that is lost when you learn to guide paint to make pictures, model clay to form sculpture, compose sound to create music, or control movement to choreograph dance. Indeed, any imposition of purposeful intent into your work will destroy the natural raw sensation of an object or an event.
The idea that a natural raw sensation is suppress by our intelligent way of looking at the world is now upheld in evolutionary psychology. This scientific discipline theorizes that the most probable cause of our need to create art through controlled technique is the result of an unconscious behavioural response that arose in the past to suppress recall of an intuitive way of sensing. An old way that the mind interpreted it's view of objects and events, that our distant ancestors lived with, has been replaced by intelligent learning, but our learned way of looking evolved to suppress, rather than reveal, the old experience. Any artist who understands this and tries to regain a glimpse of what remains of the older inherent way of sensing by intuition and instinct has to find a way to make art without learned thoughts. This means stopping your mind guiding the paint, clay, sounds or movement.
