note_13.1 Les Chiens Nauman/ tears in the rain in the context of catastrophe/ DG-F TH.2058

screenshot-2018-05-29-18-13-08-e1527615943519.png

My young connoisseur -or collector of urgent life-impressions and artful invention- has begun school-life so close to the TM that a liquid-chocolate balm combined with ‘two rooms’ has become a fixture in our lives. In the process, he has elevated El Anatsui to quite a pedestal, but I continue trying my best to broaden his horizons. Bruce’s revolving head, tick, Bruce’s Violent Incident, getting there, Bruce’s dogs, well; there’s time…

not the nauman obvOf course, these are not Les Chiens de Nauman. But those in the Art Room selection reminded me recently of their spirited precedents in Dominique Gonzalez-Foerster’s TH.2058. I was led there by a number of things; my own work-in-progress (articulating or #Rivering the Roding), and thus echoes of the river-beggaring I did floodplain-to-floodplain in Rotterdam; a ruined world of mud to be embraced with curiosity, reminded of that when receiving Defne Ayas’ archive of her WdeW years; Blessing and Transgressing; A Live Institute, which includes that first use of ‘rivering’ as a way of trying to articulate muddy-footed actualities with urgent recognitions of coming urban life, by a recent taste of DG-F’s work which reminded me of how much there is to enjoy and admire in it (esp. with a clear view of its span), close rubbing-ups against Vila-Matas (about whom much more some day, the writerly intimacies are too elemental. Dostoevsky once more or less literally saved-by-enabling my life, a very long time ago. V-M is a similar interior intimate on an extremely short list). They, as you know, have been working together since 2007 (when only Bartleby & Co, perhaps Montano too had been translated into English), and so I found myself thinking about TH.2058, a work that has remained with me more as a puzzle, or query, than a settled memory, or answer. Continue reading “note_13.1 Les Chiens Nauman/ tears in the rain in the context of catastrophe/ DG-F TH.2058”

notes from a meeting, artists on the frontier; resident or nomad? [day two pt2]

Sejla Kameric 1395 Days on the Frontier Photo G Mannes-Abbott

CLICK on image to link to SAF & more images or read on below …

 

Sama Alshaibi moderated a panel on Artists as Nomads, describing herself as the least “nomadic artist on the panel, relatively speaking,” secure in a US Professorship. Basma Alsharif, a Palestinian who “can’t really base myself in Palestine” settled in Egypt before “moving based on projects”, a process that has now been formalised through International residencies. “So then my life became a residency” with obvious costs and which have rendered her almost homeless at times -all of which she was quick to qualify too.

Ziad Antar fizzed on stage, to the audience’s amusement, relaying a similar tale of struggling to “create a point of view” in the churn; “when you live nowhere” there is a price to pay. Sejla Kameric introduced a note of caution by asking “is it a life we choose or is it by necessity… there’s a fine balance between a need and a choice.” She said she had also moved a lot on what can appear to be a circuit, but increasingly found she needed a strong working base at home in Sarajevo. [I’ll return to the screening of her version of the 1395 Days Without Red film in Bait al Shamsi later in the evening when I post a substantial interview soon; see Appendix 1 Sejla Kameric & I Go East [to Kalba]. Continue reading “notes from a meeting, artists on the frontier; resident or nomad? [day two pt2]”