Art Basel Miami Beach 2009

Art Basel Miami Beach 2009

Papers in your way. Critique on Matthew Exley Artwork

Please don't walk fast, because you can upset the Artwork.

Grey circles on a white paper squares appeared in the middle of the gallery floor to provoke an intense discussion about the Artist intentions.
Placed on the floor this uniformity was initially quite appealing However I then noticed one of those squares was very different from the rest, it was much smaller. That attracted the attention of some and made me wonder if it related to identity? However, what was symmetric was unsymmetrical, what was similar was also different. The aesthetic perfection was also the aesthetic imperfection. The gaps, the squares and the circles were similar, identical but not exact.

The dialogue was created and questions and opinions started to be raised.
“Can I walk on it...?” The viewer wondered.
“Sure, why not?” Another viewer says in a teasing mode. “There isn't anything saying that you can't do that...!”

It seemed to be a temporary piece in all of its existence, origins and intentions. The disregarded perfection of little squares didn't hold its symmetry for too long.

The settled viewer, who initially asked if she could walk on it, couldn't hold the unsettling feeling for too long and, zap, with her feet on a 90-degree angle disturbed what for some was already disturbing.

I didn’t feel sad after the event, but I am not sure that's the same way that the artist was feeling after this art attack. What happened couldn't be undone and I was wondering about the artwork. We sat in silence for a while and then started commenting on a possibility of this being the case of a site-specific installation. Also references were made to the fact that the artwork was placed on the floor in the middle of the gallery as a form of conditioning the movement of the viewers. That it's a good point, but in my opinion it raises some doubts. Those doubts are based on its form and format. It would be possible to exhibit them in a different place but other considerations would need to be taken into account. Maybe Matthew is being influenced by his extensional studies and didn't make the necessary connections to make this an interesting film or animation?

Apparently what was in the mind of the artist was only a ritual, a process, and a repetition of a drawing. Some professional observations were made about his comments; if that was the case he could have done things in a different way. Suggestions of research were made in this context.

Critique on Matthew Exley Artwork

Trivial

Part of my professional practice is to look for places where I can put work on the walls and it works.

From art@xuma 

Mario, as I guessed an artist I have a space for 9 pieces downstairs in our January exhibition, how does that sound to you? Loved your work, one brought back a very happy memory for me.. Not sure if I told you, but dont charge commission however if anything happens to the work I can not be held responsible, we have cctv and other precautions can be taken but just want you to know the conditions straight away. Thanks

brian alfred paintings.

Only things can come out of this...Critique on Ollie Place

Only things can come out of this...

I say this because I have learn that concept, context and form of any Art work have to be considered and put together as one piece, and when that doesn't happen the work loses meaning.

I was expecting more from this piece of work and I believe that the potential is there however other considerations have to be put together before it becomes an exception.

I think that when we only consider the form of a piece we are taking risk of it becoming only what it is and nothing elses. To make it harder we have to analyse and desconstruct whats in front of us without many references and that is hard work. I am sure that isn't the intentions of the artist and if so what's the point?

Conceptually I had great expectations, when standing in front of something really interesting to look at, pieces of founded wood creativelly put together in a clumsy manner creating a form that looks like a ramp...and it is a ramp. That's when I loose interest, a ramp...and?

Aren't we forgeting something here...aren't costs, size, transport and other matters important if we only want to say this is it...

Trivial

Its great when you put the work in and get the results, I am only guessing, but good things will come out of this...

Hi Duarte

It was lovely to meet you yesterday, thank you so much for your donation of art. I have spoken with my managers, including Andy Winter, the Chief Executive of BHT and they are all thrilled that you will be donating this art work to us. We will be very happy to display this in the reception.

Please let me know when you would like to bring them in, or I can arrange a time to collect them from you if this would be more convenient.

Once again many thanks

Karen Robinson
Resource Assistant
BHT Support4housing
144 London Road, Brighton, BN1 4PH
Tel 01273 645430 ext 430
Fax 01273 645402
www.bht.org.uk

Trivial

I am the kind of artist that produces a lot of work (good and bad) and that it also part of my method and process, because that’s the way that I find myself working and making it work. There isn’t always possible to have space to store or to exhibit to sale or to make money from it.

That’s also important to make the work visible to others and to the general public. That is something worthwhile to consider and to find ways of making that became a reality. I am working in some strategies to might increase my popularity and those are.

Lend work to coffee shops, restaurants and friends.

Donate work to charities

Locate galleries

Participate in collective exhibitions

Create exhibitions.

I have already accomplished some of these and I am hopping that some others will be my next step although there are a few ifs that I am coming to realize and that is costs and management of the locals where you want to have the goods.

I have also checked the Arts Council website for grants an support and maybe that’s the way to go forward.

Critique on Dee Edmonds

There we go, another group crit.

Considerations have to be taken how well we actually deliver what intended and I should make that clear considering that English is my second language to make sure that my mistakes don't disturb the message.

I am not passively ignoring the merit that each one of us deserves for what we do, however What is to deliver a message... If I paint, draw or use any other medium to say what's being said before, have I being successful?

Or for an instance if I paint a child crying, isn't clear that I am saying that she is crying? Or that something is causing her discomfort. Yes, thats obvious... so why do it, then?

I am not wasting my materials and minerals to do what's being done, I much rather to use them to do what doesn't make any sense... at least I have done it myself.

Another thing is... that we can be wrong and repeat the same mistakes over and over again... but we do what we believe...

Interesting method

Interesting approach and process

http://www.markchadwick.co.uk/

Mario

Frieze art fair

I I am glad that I went to the Frieze Art Fair this year and that is because the level of work that I saw was excellent and right up my street. I mean the freedom of expression, execution , sizes and aesthetics components of the pieces had being extremely considered by the majority of the artists. Much of these whore simplicity, minimal components and lateral thinking.

Mario

Being an Artist today is part of a past in Art history and is to use a new way of thinking in the way that we produce and make people think about Art? Are we meant to represent the world the way we see it or are we to use what allredy exist and... with inspirations use new technology to deliver?....http://www.youtube.com/watch?v=0gfbDCi2RIA.

Mario

http://www.tinagonsalves.com/interactive.htmlGood FEEL:CHAMELEON: An emotional algorithm video installation
It is a collaboration between artist Tina Gonsalves, social neuroscientist Chris Frith, emotion neuroscientist Hugo Critchley, affective computer scientists Rosalind Picard and Rana El Kaliouby. It brings together two world renowned institutions: The Wellcome Department of Imaging Neuroscience (WDIN), where the artist is honorary Artist in Residence, and the Media Lab, Massachusetts Institute of Technology, USA, (MIT) where she is ‘Visiting Artist’. Curated by SCAN Media Arts Agency, the project will be exhibited extensively, and a corresponding catalogue will document the project.
Neuroscientific research will be finely integrated with innovative sensing technology creating an engaging art experience that empathically adapts to participants, leading them to a deeper personal understanding about innovations in biomedical science. For science, the work illustrates research in new ways, and the platform may evolve as a flexible research tool, exploring of social-emotional skills in human-machine interaction, informing psychophysiological neuroscience with the potential to generate abundant data relating to patterned emotional expressions. For the arts, the model and techniques may be applied to probe clinical disorders of social emotion including autism creating new experiences for new and under represented audiences. Moreover, the cross disciplinary foundation will lead to the building of more empathic interaction scenarios which may impact future display of media arts and museum displays, pushing further understanding how machines/art experiences can adjust with people to support learning, creativity, imagination, and motivation.
This project integrates the tools of biomedical science and affective computing, which are both seen with hope and fear. The interface design may lead to debate of how sensor technologies may infringe privacy of participants and ignite feelings of vulnerability. Simultaneously, the interface generates a framework for collaboration with the "audience”, using the feeling of ‘vulnerability’ to facilitate productive self-expression, and social awareness, enhancing public understanding of how new innovations in biomedical science can enhance communication and the understanding of empathy.
Orson Welles created panic when his radio theater broadcast The War of Worlds? Albert Bandura’s Bobo Doll experiments demonstrated that individuals learn aggressive responses from observing others. Emotional contagion is a significant feature of spectators' engagement with narrative fiction film (Amy Coplan). Emotional Contagion effects us moment to moment through the cultural, social, the personal, though as it is often unconscious, few people are actually aware of its impact on our everyday. CHAMELEON will achieve an illustrative power that would not be attained by conventional scientific or artistic endeavours. Seeing and interacting with CHAMELEON will allow viewers to study the effects of dynamic emotional contagion with in an immersive virtual context. Through participation, questions about the role of emotional contagion for the need for survival and adaptation to our environment, the use of emotional contagion in art and the use of mirror neurons (and other biological functions) in emotional contagion will be stimulated.
video file of the Chameleon Project April 2009
Chameleon on New Scientist, April 2007 (video)
Chameleon The Australian August 2007 (text)
Tina Gonsalves, Digicult 2008 (italian)
Chemeleon Project, Culture 24, April 2009
Chameleon Project, Natural History Museum, June 2009
Chameleon Project, Biopychology, April 2009

Mario

What is Pequenasebentapreta?

Pequenasebentapreta is the Portuguese name for Sketchbook, or a little and insignificant school book where you can write you thoughts, notes and things like that, they are normally made from cheap paper and the pages are blank. They cost about 0.70 for an A5 and have over 50 pages.....the equivalent of a Journal, diary or note book or a reporter pad "from Asda".

Mario