Plausible Artworlds

Online debate on 'The Politics of Asthetics'

Elements from AIHPOF moderated two online debates at Post-Autonomous Art website.

These debates look at issues raised by Jacques Ranciere's text The Politics of Aesthetics.
The discussion on the 30th October was led by Magda and Ben
Here is the introductory text by Ben

Another discussion, on the 9th of November was led by Ana
Here is her introductory text to the discussion

The “new primitive” methods in the age of digital technologies – a review of Ana Carvalho’s VJing practice by Magda Tyzlik-Carver

At the first event, MOD Shed, organised by the collective Art in Hidden Places of Falmouth each member of the collective contributed a piece of work (link to MOD event).
Among them was a collaboration between Ben Carver and Ana Carvalho, which was a DJ/VJ live performance.

This, however, was not the kind of VJ performance that is ubiquitous to a nightclub setting. The event took place at Falmouth Wharves, a run down semi industrial space which has survived the redevelopment of the waterfront at Falmouth.
Neither was this the type of VJing which could fall into the traps of: macho battle, technology leading technique, the industrial branding of practice.

On the contrary Carvalho's VJ performance made full use of the industrial but intimate space. The half hour piece presented in this ideal setting created the atmosphere of the personal conversation. This was achieved through the music selected and played by the DJ and the real time drawings and paintings improvised by Carvalho. By making public this exchange between sound and image, the viewer was invited to join an intimate dialogue, which allowed her/him to connect individually with the ambience created by the work.

Carvalho uses technologies not normally associated with the practice of today’s VJ. So far she has not utilised the usual VJing tools: the pre-packaged software and hardware. In this performance she made use of Photoshop as a performance instrument bringing out the process of constructing images as a real time event. This in itself becomes an inversion of the intentionality behind the software, which seems to be subversive and perverse characteristic of Carvalho’s practice.

Her most recent work in the "VJ" arena uses even more primitive techniques. As large corporations produce more and more "off the shelf" real time products, Carvalho has adopted elements of early video art approaches, rejecting the use of video images in favour of mixing colour and form live.
The effect is very different to the usual fast-cutting, filtered graphic images which often can be seen in clubs.

Carvalho maintains in her VJing practice an intimacy using new/old video-art and performance methods.
The emotional impact of this on an audience, in its honesty and its determination to make visible its own means of production, brings life to the relationship between the viewer and the work. This can never be achieved by more commercial packages.

Carvalho, who is also an internet artist, investigates in her work the possibilities of bringing digital technology closer into the realm of an everyday viewer. She is able to achieve this aim through her decision to make her private explorations public and VJing is one means that searches the possible connections.

See also VJ Theory website for more information about VJ practice.

Relationships Between Audience and Artist

I am interested in the relationships between the audience and the artist through the art work/piece/project. I am also interested in the discussion of how the roles of both audience and artist(s) can be blurred and weave together.

Most of the projects I have been involved with for the last three years ask active participation of other people during the process of making work and sometimes asks for interaction and participation in the finished work.
Each new work arise questions about audience as collaborators, about the artist as rule maker and I have been learning how to make people interested in engaging with work by doing it.
Rule making
The artist(s) is the rule creator. To dismiss the role of the artist(s) has been an impossible task, although working as a group this role is shared with others, the (small group of) people working on a certain project.

Collaboration during the process of making
Inviting specific individuals (or groups) to participate on the ongoing process of making work seems to be a way of collaborating. The problem arises when anonymous general collaboration is requested.

Interaction with the final work
Either implicit or explicitly, telling the audience what to do (like, click here, move in front of the screen, clap your hands) seems to be the way for users to engage with the work. The reaction is controlled and calculated. Creative participation in unexpected ways is being difficult to achieve.

The artist as audience
Be able to create a distance from the work and engage with it as any other individual from the audience is an enjoyable experience not very often possible. For many reasons this becomes difficult; because the artist knows too well the rules, is concerned with maintenance, is being asked questions about the work or engaged themselves/himself/herself with reflection.
I would be very pleased if we could share ideas and our own experiences on these issues and if possible by using examples of work that deal in different ways, effectively or not.

Ana Carvalho

Discussions at Post Autonomy blog about Future of Art?

Art in Hidden Places of Falmouth (AIHPOF) took part in many discussions about Post Autonomous art. The discussions are part of the project "examining the space of PA" which has been started by bureau for research into PA in August 2006 and on which AIHPOF have been collaborating since.

Here is the link for PA blog http://www.postautonomy.co.uk/blog/ where you can see the discussions between members of AIHPOF and David Goldenberg and other people invited to participate.

Images from the after (thankyou) party

After (thank you) party

During the CHRISTMAS PROJECT event there was a lot of people taking pictures, recording sound and making film. We are preparing a small party to show this material and also to thank everyone that helped one way or another in the CHRISTMAS PROJECT.

The party will take place at Brendan’s garage on Saturday the 18th of February from 6pm onwards.

TO GET THERE:
From the pavement opposite the Greenbank Hotel:
Walk 562 steps towards Penryn
On your left there is a small red postbox in the wall
Opposite there is a slipway signed
“Fairhaven Shipping Co Ltd Falmouth Wharves”
Walk down the slipway past “Private Keep Out” sign
At the bottom of the slipway turn 180 degrees and walk towards the security light.
Call if you need help: 0741378264

Open Research Meeting at iRes with Art in Hidden Places of Falmouth

iRes Research in Interactive Art & Design invites everyone to Open Research Meeting with local group Art in Hidden Places of Falmouth.

The meeting will take place on 16th February at 12.30 - 13.30 in Seminar Room A, Rosehill Garden Studios, Woodlane

During the meeting, Art in Hidden Places of Falmouth will discuss with the audience their practice of organising collaborative art events ‘every now and then’ in public spaces of Falmouth. They will also talk about the concerns of collaborative practice that exists outside institutional settings.

Art in Hidden Places of Falmouth attempts to create a network for artists to communicate, collaborate and show works in public spaces in the town of Falmouth.

Everyone is invited, although there are limited number of seats. To reserve your seat please email: ires@falmouth.ac.uk or call Magda Tyzlik-Carver on 01326 370738.
For more information about the event, please visit:
iNet homepage at http://ires.falmouth.ac.uk/inet
iRes website at www.ires.org.uk

The Cristmas Project - REVIEW

Creative Idea and Realisation:
Art in Hidden Places of Falmouth (Brendan Byrne, Ana Carvalho, Magda Tyzlik-Carver)
with huge support and help from Bettine, Dominique Allen, Alex Wright and Chris Howard

Additional help and support:
Ben Carver
Duncan Ravenhall
Peter Langford
Richard Ward
Becky Mc Crum
Anna Karu

Screens:
Kernow Coatings

Windows:
Emm & Val
Zorie Popadopalous
Jane Llewbllyn
Ron Hilton
Col
Matthew Cogan
Pip Reading
Toby Field
Neil Cole
Mell, Scott and Charlie
Dan, Rowan, Hardy and Dave
Matt & Viv from Mojo guitar shop
Frosk & Ruth
Arwenack Hotel
BrandLab
Smith Associates
Richard from Gallery49
Adam Levey Thai Orchid restaurant

Projectors and films:
Phil
Richard Ward
Duncan Ravenhall
Serena Rodgers
Alex Wright
Chris Howard
Dominique Allen
Maria Christoforidou

THE CHRISTMAS PROJECT

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a collaborative work with the community in Falmouth
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On the 9th and 10th of December, from 19:00 to 21:00, Falmouth’s High Street will be inundated with projections of summer holidays on private and shop windows.
The focus will be on the top floors, which will take passers'-by attention from the shop window level to the top floors, where most of the projections will take place. The images are intended to add some emotive and visual warmth to the cold season. Falmouth, typically a destination for holidays, will display the memories of its inhabitants from their summers spent all over the world. In order for this event to happen, Art in Hidden Places of Falmouth invited people of Falmouth to participate by lending their films, projectors and/or windows. The project is the result of this collaboration.

Last meeting before the event

On Monday the 5th December at 7pm, we will be meeting at the Boathouse pub in Falmouth.
This will be the last meeting before the event.
We would like to have everyone there that is willing to help us in the nights of 9th and 10th to set up all the projectors and films and document the event.