THE BLACK MANA AND THE EVIL SPIRIT OF THE COBBLESTONES
(2019)
author(s): Gian Luigi Biagini
published in: RUUKKU - Studies in Artistic Research
This hyperstitional text describes the Disturbanist practice of the Anartist, that consists in subversive urban interventions on the edge of politics and counter-sorcery. Drawing on the theory of post-structuralist philosophers, it focuses particularly on artworks made with black cobblestones. This material, taken as symbolic concentrate of "black mana", evil spirits and spectral antagonist mythology is remodulated in provocative installations and interventions. The text shows also how the intensification of repetition of gestures, materials, symbols and forms can generate a singular territory-refrain based on a transpersona that - at its hyperstitional limit-unfolding - could resist, infect and counter-attack the Integrated Spectacle of Capitalism.
MY PUBLIC STAGE
(last edited: 2024)
author(s): Ioannis Karounis
This exposition is in progress and its share status is: visible to all.
"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of performance art and civic engagement that transcends conventional boundaries. At its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an unconventional perspective on how art can reshape our understanding of the world.
The essential aspect of this artistic journey lies in the intentional placement of artistic interventions and performances within public spaces, where the encounter with viewers is not a predetermined spectacle but a meeting. This deliberate approach seeks to dissolve the traditional separation between the artist and the individual, fostering a unique connection that is spontaneous and genuine.
I view public space as not only a material but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Lefebvre’s (2019) approach to urban public space not as a neutral container of social life, but as a fluid entity, both constructed and produced by social practices. Lefebvre’s approach confirms and expands my view that public space is not fixed, yet it requires a conscious effort to intervene in its production.
The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the sentiment of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life.
In embracing the public sphere as its canvas, this practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.
Las guerras púdicas
(last edited: 2022)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
In this exhibition I develop the concept of responsibility linked to performance art. Through the analysis of the performative installation Las guerras púdicas, I make an approach to the curated integration of fields: cultural practice of cooking, contemporary art, psychoanalysis, synoptic charts and language of war.
Optimistic Criticism: A Work in Progress
(last edited: 2019)
author(s): James Wood
This exposition is in progress and its share status is: visible to all.
An introduction to and for myself as an attempt to more clearly define what I am calling Optimistic Criticism.
Frustrated with limited teleological analysis in any form, this evolving, never finished exposition is a postcard of my critical perspective. More postcards will be sent when I travel to different shores, but my home berth will be here.
This hyperstitional text describes the Disturbanist practice of the Anartist, that consists in subversive urban interventions on the edge of politics and counter-sorcery. Drawing on the theory of post-structuralist philosophers, it focuses particularly on artworks made with black cobblestones. This material, taken as symbolic concentrate of "black mana", evil spirits and spectral antagonist mythology is remodulated in provocative installations and interventions. The text shows also how the intensification of repetition of gestures, materials, symbols and forms can generate a singular territory-refrain based on a transpersona that - at its hyperstitional limit-unfolding - could resist, infect and counter-attack the Integrated Spectacle of Capitalism.open exposition comments (1)
In this exhibition I develop the concept of responsibility linked to performance art. Through the analysis of the performative installation Las guerras púdicas, I make an approach to the curated integration of fields: cultural practice of cooking, contemporary art, psychoanalysis, synoptic charts and language of war.open exposition comments (0)
An introduction to and for myself as an attempt to more clearly define what I am calling Optimistic Criticism. Frustrated with limited teleological analysis in any form, this evolving, never finished exposition is a postcard of my critical perspective. More postcards will be sent when I travel to different shores, but my home berth will be here.open exposition comments (0)