Workshop s Marianne

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Níže uvedené texty vznikly pomocí metody “Threeing” umělce Paula Ryana v rámci workshopu vedeném americkou umělkyní Mariannou Maruyama, žijící v Holandsku.

The following texts were created with using of the method “Threeing” by artist Paul Ryan during the workshop maintained by American artist Marianne Maruyama, who lives in Holland.

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For Jiri

– What one sees and feels is evidence for her/him. Be obedient to manipulation – or – ask whose are the information about what, how and why? You wish to make the spectator believe or just to unsettle him/her.

– Both of these statements are an interpretation, which are not so opposed to each other. The first one addresses more the moment of the fictional structure of the narratives, the critical aspect of these narratives. Nonetheless they are looking at the same aim.

– I just want to stay visible and sometimes it’s not easy. I’ve chosen the role of an invader. There is no special reason to do that. It just has a special reason for me.

For Lucie Fricova

– I asked her what that means, documenting something. She said, it is a description of reality by the truth. To her, the truth is her memory. If her memory was a machine for real-live time recording, could it be large enough for grabbing whole pictures of anything.

– to step off her own memories can bring some higher to what seems more important to her – collective memory of a town.

For Lucie Rozenfeld

That any and all reality is constructed is made apparent when an ‘ideal situation’ is articulated.

For Anna

There is a misunderstanding between those two texts. Jiri didn’t want to be complex in his thesis. There is no complexity in the first text and Bara looked for a sense of a rule in his text, but he didn’t make a logical structure, he only pointed out two statements. His question at the end provokes a doubt about it. There supposes to be no interconnection between these two statements.

For Bára

Bara works with the subversive rhetoric of criticism that deals with the social system and structure. She deals with the contemporary visual materials to make a new structure of the visuality and way od seeing of it. This, new visuality, is an interaction with the written text or spoken word which is used in her works as a part of her final artwork.

The Artist

Artist is not only someone who sees and allows people to see, he is also someone who allows people to understand, to know, to feel, to be. The artist transports the situation or some piece of reality from background to the stage . Sometimes he creates new thing, sometimes he describes with a new language an old thing. We will call him/her. Just he/she. And the things will be described as things. The names are limiting.

 

For Martina

The author of the art piece is communicating wit the audience. He brings a piece in front of them and wants to educate. Communication as a necessary part of an art piece and education.

Although in her so-called no identity products she tries to manifest the border between fine art and design and its fluid controversial relationship, it doesn’t mean it is useless to define her own position in these two fields more precisely.

For Eva

The camera as a part of the performance is the evident evidence of the movement. Of course, also because the camera is being moved by the performer. The surrounding for her is maybe not so important but the choice of it is essential.

And what about peg leg’s ? We have a lot of them. It is part of our body? We should

say something about them if we want to describe body as complex. Materiality it is part of the stage where body is acting.

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For Vojta

It reminds me of some ritual around the fire, which many ancient social environments had been practicing and their acting made sense only for them.

The ritual components are defined by the agency we assign to present elements. The third eye will consume all the elements and retell the story with a new form of magic, beyond space and time.

 

For Magda

She is not addressing the relevance of the new in artistic creation, since art repeats itself, but rather, she is interested in tracing a line to the place (perhaps a location in the brain) where a creative act takes place.

For Asa Maria Hedberg

Girls have agreed on a possibility to change people’s thinking with art. If it happens they say it is real art. But nothing lasts forever in this galaxy.

For Matej

Narrative is also a combination of more things: interpretation of the artwork by the artist, interpretation of the artwork by the viewer, context of the artwork, interpretation of the contexts by both (artist and viewer), context of the institution in which the art is displayed, the interpretation of the artwork by the institution. Of course that art is when the artists’ meaning, viewer, and the objects work together, but the narrative as a result of that action is complex structure with a thousand branches.

Marianna Maruyama

About Studio Without a Pedagogue:

Our wish is relatively universal. We want to be special but we are not ready to be special and alone.

Man who forgot what it means to work in a group.

Man who have speech and doesn’t listen.

Man who stops where love begins.

The society that is divided into the small parts is not a society.

The community where the people have nothing in common is not a community.

The beginning without the ending is the beginning of nothing.

Artist, writers…. always thought the history worked in some network. In some chain reactions of the colleges or to some situations to.. It would be incorrect talk about them that they worked in situation with their imagination. Imagination or intuition it’s important part of the artistic process. But sometimes these ,,words’’ hide judgements with we (as artist… ) should ,,analyze’’ (reading between lines)

 

 

You are standing in a line. You can see your own feet and hands, the neck and the back of the person in front of you, hear and feel the breath of the other person behind you on your neck. You are both alone and surrounded by the intimacy of strangers. The border shows you a place you can never go, even if you can see it from where you stand.

 

For Lucie

Rozenfeld? Fricova?

Could artist find a answer in which context should create his/her work?

Its personal statement of mind or some situation outside?

We could say that situation in which art pieces are created is also part of immanent contain of this art work.

Any of art pieces are not cut out from context of art history and is part of our reading a seeing this works.

So what we could do now? and what change tomorrow?

That any and all reality is constructed, is made apparent when an ‘ideal situation’ is articulated.

Sometimes, the result comes aside by itself as a natural ending of the process. As the process- based practice is the most important thing to learn – we learn how to find the way to the result – where the way is and how to deal with the obstacles.

So in the end, there is always some result. But hunting for result without appreciating doesn’t come from the real life.

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