Jess Young Art: May 2012

21/05/2012

"The past, as we think of it, changes constantly, but those changes are determined, however obscurely, by us. They vary as moods vary or as weather alters from one moment to the next. The key is the rhythm but the rhythm is ours alone, dictated by memory."
(Morgan, S (1995) Rites of Passage; Art for the End of the Century. Tate Gallery Publications: London)

"For dwelling-as-residing is not necessarily sedentary; not the literal absence of motion but finding a relatively stable place in the world is what matters in such dwelling. Such finding is possible even when in motion. The earth offers continual if sometimes uncomfortable accommodations as one moves across its surface. If human beings may peregrinate in place, so they may also dwell stably even as they move from place to place.
-Edward S. Casey
(D, Tacita (2005) Place. Thames and Hudson: London)

Call 3 exhibition evaluation

Call 3 – sited/off site was a project that allowed me to work outside of the studio and consider what the line is, and where it stands between ‘the work’ and documentation. I proposed a performance piece and felt very certain about how it would be documented – with photographs – which took me away from my normal practice which would usually revolve around going to a place, but collecting/taking something away to explore in the studio.

In terms of curating this piece; my audience were my two travelling companions, fellow artists who were not only present for the performance, but who I had to hand control over to, and trust with my intentions. When the documentation was brought back to the Lobby to be displayed, the audience was something different again, and what had to be considered when selecting appropriate documentation was how much of the story I wanted to tell, and how descriptive the documentation had to be. In the end it was decided that more could be left unsaid – the image that I selected said all that I wanted to and doesn’t need to describe the piece entirely. It is not the piece itself.

The documentation of these events in the Lobby forms a cohesive and interesting ‘non-exhibition’; the work is varied and all of it somewhat cryptic which again illuminates the difference between the work, and the documentation that came from it. This has been the most challenging of the calls in this sense – the workload was relatively small compared to call 1, but there was working out to do with regards to how this should be translated – as with call 2 – but more so.

I was not involved in the curation of the exhibition, but was present. The large amount of work for such a small space meant that a tight narrative had to be created, as well as a sense of aesthetic balance. I think this has also been the most challenging show to install.

CURA200 Call 3

"Rites of passage are ceremonies that symbolise the significant moments in our lives as we move from birth, through life to death. Such rituals are both personal and communal."
(Morgan, S (1995) Rites of passage; Art for the End of the Century. Tate Gallery Publications: London)

The Big Adventure! Day 3

Damp early morning goodbyes and long walks home.

The Big Adventure! K D J

The Big Adventure! Day 2

A day of doing things planned and unplanned.

The Big Adventure! Day 1

A weekend wild-camping with artists and ambitions and huge excitement at being free. An opportunity to work outside of the studio in a different way, released from the pressure of making, doing, now now, this way. Just being and feeling the environment and discovering what it is and what it means.

The Big adventure! Making plans

Making plans, being excited, so much to remember. Mapping a place and imagining how it feels and is without ever having seen it. Living in a place in your head that is still geographically, physically, undiscovered.