exploring inter-subjective encounters, exchange and ties.
two participants engaged (maybe reactional, mutual, exchange ) for the duration to disengage at the end of a participating relationship.
20090513
Performance artist, Tom Marshman
Tom Marshman
10 May at 16:27
Tom Marshman - The Invitation.
Over the last year Tom has been presenting his trilogy of performance work 'Everyone's Companion to Life & Love' to groups of older people across four regions. Tom has gathered memories and stories in response to these 3 shows and developed a new performance inspired by these meetings.
The show re-examines and remembers the abdication speech of the king, a childhood journey on the strawberry line, a debutante lying drunk on the floor of the Savoy and explores the possibility of what can happen when parachutes are remade into blouses.
Conversations with Jeremy Spencer, Art Theorist
Your last image reminded me of this work -
http://www.georginastarr.com/dining.htm
Thank you for your work today, and I do apologise for the problems with computers etc.
Jeremy
On 11 May 2009, at 20:04, Amy Spurdens wrote:
the blurb/sound that accompanies is quite beautiful.
It is an avenue to re-enact dining alone through audience members experiencing the isolation..still a niche of 'gallery goers'/ladies who lunch!.. Thank you for sending that.
Why did you choose to study art theory?
From: Jeremy Spencer (jeremy_spencer@me.com)
Sent: 11 May 2009 20:13:18
To: Amy Spurdens (amyspurdens@hotmail.co.uk)
I wanted to study here - http://www.leeds.ac.uk/fine_art/info/pgcs/maah/index.html - and I was a terrible artist, but I do miss, you know, making stuff. Pleased you like the Starr.
Jeremy
The Starr
DINING ALONE
Sound piece, text & photograph.
An invitation to make a work for a Paris restaurant turned into a lonely and paranoid meal for one for Starr. At a later date diners at the same restaurant are invited into the wine cellar where they can also dine alone by candle-light while listening to Starr's thoughts from her own dining alone experience.
Also while in Paris Starr dines alone on a makeshift table by the Seine, it's a quiet spot where she can be completely alone away from the eyes of other diners.
Exhibition history for Dining Alone:
Restaurant, La Bocca, Paris, 1993
Diary, Cornerhouse, Manchester, 2000
http://www.georginastarr.com/dining.htm
Thank you for your work today, and I do apologise for the problems with computers etc.
Jeremy
On 11 May 2009, at 20:04, Amy Spurdens wrote:
the blurb/sound that accompanies is quite beautiful.
It is an avenue to re-enact dining alone through audience members experiencing the isolation..still a niche of 'gallery goers'/ladies who lunch!.. Thank you for sending that.
Why did you choose to study art theory?
From: Jeremy Spencer (jeremy_spencer@me.com)
Sent: 11 May 2009 20:13:18
To: Amy Spurdens (amyspurdens@hotmail.co.uk)
I wanted to study here - http://www.leeds.ac.uk/fine_art/info/pgcs/maah/index.html - and I was a terrible artist, but I do miss, you know, making stuff. Pleased you like the Starr.
Jeremy
The Starr
DINING ALONE
Sound piece, text & photograph.
An invitation to make a work for a Paris restaurant turned into a lonely and paranoid meal for one for Starr. At a later date diners at the same restaurant are invited into the wine cellar where they can also dine alone by candle-light while listening to Starr's thoughts from her own dining alone experience.
Also while in Paris Starr dines alone on a makeshift table by the Seine, it's a quiet spot where she can be completely alone away from the eyes of other diners.
Exhibition history for Dining Alone:
Restaurant, La Bocca, Paris, 1993
Diary, Cornerhouse, Manchester, 2000
Saatchi Young Artists
my profile:
http://www.saatchi-gallery.co.uk/yourgallery/artist_profile/Amy+Spurdens/108749.html
http://www.saatchi-gallery.co.uk/yourgallery/artist_profile/Amy+Spurdens/108749.html
20090508
Developmental research essay (very, very unfinished)
DEVELOPMENTAL RESEARCH
My work is constantly changing theoretically and therefore visually, I am a de-centered practitioner; working on multiple themes in various mediums with an indistinct style running through all of my work. I am constantly journeying, understanding, testing and hypothesizing concepts whilst, running parrallel, am attempting to express a concept relatively and objectively.
Using Joseph Beuys’ public persona as an example, that he created from fact and fiction, a contrived self-appointed personal stance thread that takes some of the objectivity away from the viewer. Yet this subjectivity may have been a prerequisite to his further works, in a similar way to my semester 3 (which in hindsight are art as therapy) creations. Art Theorist, Benjamin Buchloh criticises Beuys retreat into myths and symbolism and criticises Beuys’ rhetoric, calling it, ‘simple minded, utopian drivel’.

I am interested in art being a way of life and how much art and life can infringe and harmonise with each other. Bourriard states that, ‘contemporary art is definitely developing a political project when it endeavors to move into the relational realm by turning it into an issue.’
Spaces and accessing relational aesthetics
The aesthetic is predetermined by the site and by the found objects used to create the den and the control is a piece of vintage fabric, usually used for the dens roof. The intention upon initialising this project was to change spaces and integrate these spaces into the environment, with intention to leave the dens after initial creation to be evolved, de-created or untouched by the public, institution workers and nature. I am interested in what happens to the dens post-creation with more emphasis on how the work lives on in the viewers text or participation and less
of what the author states that the work means. with reference to Barthe’s essay, ‘From work to text.’ Barthes’ explained that, “the Text is radically symbolic: a work conceived, perceived and received in its integrally symbolic nature is a text.” What happens to the work after creation, socially, with audience participation or naturally, after the author leaves.
DEN5, Social Habitat
.
Bourriard defines a relational art as, “an art taking as its theoretical horizon the realm of human interactions and its social context, rather than the assertion of an independant and symbolic space.” In my dens project, I am lessening the importance of a ‘symbolic space’, therefore the notions of Barthes’ ‘text’ become a lesser relevance compared to the ‘realm of human interactions and its social context’, that Barthes states as relational art.
Rikrit Tiravanija inhabited the gallery space and served up ‘pad thai’ to his viewers.
Bourriard states that, ‘art is a state of encounter.’
Bishop disregards Tirivanija’s work for targeting a niche audience only, an audience of ‘gallery-goers’ who do not fit the bill of a democratic relational art. She states that,”.....”. Bishop rates Santiago Sierra’s work for reflecting the “tension..... (art and social sphere)”, in ‘6 people paid to remain in cardboard boxes’, where he pays illegal workers $9 for occupying a box for 3 hours. She shuns) Bourriards vision of relational art as being harmonious and utopian, yet I think there is still a possibility here for relational art not to have serious undertones. According to Bourriard, a work is political as soon as it, “incorporates.....people socially,” and Bishop quotes ....... as ...... Sierra goes into public streets to find illegal workers before his exhibition gallery opens.
My work is constantly changing theoretically and therefore visually, I am a de-centered practitioner; working on multiple themes in various mediums with an indistinct style running through all of my work. I am constantly journeying, understanding, testing and hypothesizing concepts whilst, running parrallel, am attempting to express a concept relatively and objectively.
Using Joseph Beuys’ public persona as an example, that he created from fact and fiction, a contrived self-appointed personal stance thread that takes some of the objectivity away from the viewer. Yet this subjectivity may have been a prerequisite to his further works, in a similar way to my semester 3 (which in hindsight are art as therapy) creations. Art Theorist, Benjamin Buchloh criticises Beuys retreat into myths and symbolism and criticises Beuys’ rhetoric, calling it, ‘simple minded, utopian drivel’.

I am interested in art being a way of life and how much art and life can infringe and harmonise with each other. Bourriard states that, ‘contemporary art is definitely developing a political project when it endeavors to move into the relational realm by turning it into an issue.’
Spaces and accessing relational aesthetics
The aesthetic is predetermined by the site and by the found objects used to create the den and the control is a piece of vintage fabric, usually used for the dens roof. The intention upon initialising this project was to change spaces and integrate these spaces into the environment, with intention to leave the dens after initial creation to be evolved, de-created or untouched by the public, institution workers and nature. I am interested in what happens to the dens post-creation with more emphasis on how the work lives on in the viewers text or participation and less
of what the author states that the work means. with reference to Barthe’s essay, ‘From work to text.’ Barthes’ explained that, “the Text is radically symbolic: a work conceived, perceived and received in its integrally symbolic nature is a text.” What happens to the work after creation, socially, with audience participation or naturally, after the author leaves.
DEN5, Social Habitat
.
Bourriard defines a relational art as, “an art taking as its theoretical horizon the realm of human interactions and its social context, rather than the assertion of an independant and symbolic space.” In my dens project, I am lessening the importance of a ‘symbolic space’, therefore the notions of Barthes’ ‘text’ become a lesser relevance compared to the ‘realm of human interactions and its social context’, that Barthes states as relational art.
Rikrit Tiravanija inhabited the gallery space and served up ‘pad thai’ to his viewers.
Bourriard states that, ‘art is a state of encounter.’
Bishop disregards Tirivanija’s work for targeting a niche audience only, an audience of ‘gallery-goers’ who do not fit the bill of a democratic relational art. She states that,”.....”. Bishop rates Santiago Sierra’s work for reflecting the “tension..... (art and social sphere)”, in ‘6 people paid to remain in cardboard boxes’, where he pays illegal workers $9 for occupying a box for 3 hours. She shuns) Bourriards vision of relational art as being harmonious and utopian, yet I think there is still a possibility here for relational art not to have serious undertones. According to Bourriard, a work is political as soon as it, “incorporates.....people socially,” and Bishop quotes ....... as ...... Sierra goes into public streets to find illegal workers before his exhibition gallery opens.
20090503
Ashes
concept. to bring the ashes out of the one to one relation to viewer and into dialogue that penetrates further.
solution 1, performance. standing water bowl similar to baptism holy water, audience in a line baptise with ash. art/religion. religiously create destroy. shira.
plan. research baptism and other religious ceremonies especially involving ash.
solution 2. cremation performance. give a sketchbook/painting (ash) to an audience to spread. Request for photos of places they rest to be emailed.
plan. investigate this after essay research and writing....
plan 3. disperse the ashes myself with photos documenting place / ash in air
PLAN 4. to give each bottle of ash to a different person to disperse and request that it is documented in some way, ie. with a photograph or a letter about anything related to their interpretation of the project. And a request to have the documents given to me. (These documents to be exhibited with cushions of fabric control from dens project or a print of documents on the cushions)...
solution 1, performance. standing water bowl similar to baptism holy water, audience in a line baptise with ash. art/religion. religiously create destroy. shira.
plan. research baptism and other religious ceremonies especially involving ash.
solution 2. cremation performance. give a sketchbook/painting (ash) to an audience to spread. Request for photos of places they rest to be emailed.
plan. investigate this after essay research and writing....
plan 3. disperse the ashes myself with photos documenting place / ash in air
PLAN 4. to give each bottle of ash to a different person to disperse and request that it is documented in some way, ie. with a photograph or a letter about anything related to their interpretation of the project. And a request to have the documents given to me. (These documents to be exhibited with cushions of fabric control from dens project or a print of documents on the cushions)...
20090502
Den 9 sailing out
unfinished studio...
am thinking of screwing in a frame so it can balance standing up maybe with a piece of material on top
i need a canoo or something watertight to make a floating den..
am thinking of screwing in a frame so it can balance standing up maybe with a piece of material on top
i need a canoo or something watertight to make a floating den..
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