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OSMOSIS CRIT. WEDNESDAY THE 8TH OF FEBRUARY. c02. 11AM.

Each participant must anonymously drop off one piece of their own artwork in CO2 (a white space in ECA). I ask that everybody places their work in a line by the wall. (Perhaps participants could ask a friend to drop off the artwork; to avoid anyone involved seeing which artwork belongs to whom.)

 

A circle will be marked on the floor and all participating artists will assume a position around the circle as they arrive in the room. When everybody is in the room, we will have formed a circle, facing inwards (looking at each other.)

 

One person will go and collect the first artwork in the line, pick it up and bring it back to the circle. This person will begin the discussion, they will talk about the artwork as if it is their own piece, describing the aesthetic values and presenting the ideas behind the artwork, as they interpret it. They must speak for 5 minutes.

 

After the original speaker has finished presenting their verbal and gestural interpretations of the artwork they pass it on the next person in the circle. The next person then repeats the process of analysis and presents their ideas about the artwork. Every person in the circle will have the same amount of time to speak about the art work in turn.

 

When the last person has finished speaking about the first artwork they will return it to its original position in the line by the wall and pick up the next art work in the line. They will then speak about that art work for the same amount of time and then pass it on. All artworks will all be discussed in the same way, for the same amount of time, by everybody.

 

I intend for the occurrences in the room to echo the idea of Osmosis, a natural process of things coming and going, with no beginning and no end. I want to take away all choice from the individual in terms of only choosing to talk about things which they have strong feelings of understanding, like or dislike about. Everyone will be challenged to speak about everything and we will all be rewarded by hearing every student’s critique of their own artwork (will the way in which this art object is critiqued indicate the artist’s previously developed relationship with it?) I hope that by keeping the artist anonymous and removing ownership of the artworks within the room, that interpretations of the artworks may flow freely, be a struggle to communicate and will definitely be honest. The responses to the artworks should be totally unguided by pre-determined knowledge or ideas curated and based around information gained prior to the workshop. This anonymous structure will provide an unusual context opposite to the extremely open university environment we typically inhabit. I hope the blank circumstances and setting will help all participants transcend into an artistic world which is more realistic than the safe comfortable one which exists within art school walls.

 

If you’d like to participate please follow this link: http://www.doodle.com/dvsu4xehva6qkvzz

THE EVENT IN CO2:

A very productive crit discussing five pieces of work amongst five people

until Neil Mulholland and Keith McIntyre joined us

widening ideas and the critique.

A circle was pleasant

but the structure needs to be malleable to morph around diverse artworks and artists, upon legs, upon bottoms, next to the wall

looking

holding

boundaries shall be (NYE means a flock of pheasants,) n o n e .

We shall conduct two types of crit, stating the differences clearly to prospective critters.

1. Role- play crits, in which each participant will speak as if they have created each artwork which we all discuss in turn. i.e. i took this photograph in Rome, it was difficult to capture the colour of the birds feathers at twilight, i like to photograph birds because i wish i could fly.

2. Circular crits: As we did today, artists will bring pieces of artwork to the crit destination, or the critique group will move to look at the artists work. Each participant will speak about each artwork in turn and we shall move on to the next artwork.

Question? HOW CAN THIS PROCESS BE IMPROVED IN THE FUTURE?

To have a less formal chat about each piece after EVERY participant in the circle has spoken,

tempting, enticing, waggling questions for the artist.

Or to smoothly move on to the next piece of work, continuing the flow, the original plan to minimise any hierarchy and flow in and out of people’s thoughts, voices, artworks and ideas in an osmosisy styley: in and out.

FOR I TO REFLECT UPON:

WORDS BECOME SYMBOLS, SYMBOLS BECOME WORDS AND LANDSCAPES AND ALL FUNCTION HARMONIOUSLY IN THE CREATION OF NARRATIVE AND COMPOSITION

SAD. YES BECAUSE ALTHOUGH THE COLOURS ARE JOYFUL THE FEELING IS ALONE

THAT IS SOMETHING TO LEARN ABOUT. ITS OK AND GOOD IN WAYS

ALASTAIR GREY. LANARK

AND MORE,

THIS BREAD is JESUS’S FLESH. BODY

THAT IS AN OAK TREE. CRAIG MARTIN

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