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CLOWDY NOTES

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BILL TRAYLOR

BENCH

Paul Cortot

art with the body

as an actor

without being

present

Mark Manders on the decision to become an artist
I was also extremely fascinated by the fact that I wore shoes and that my feet had become so week after undergoing such a long evolutionary process and that they could no longer do without the protection afforded  by my shoes.

... how humanity had arrived at the human world through innumerable decisions and how the body related to this...      about Selfportrait as a building

Overflooding imagery

Image overflooding

We have become the hoarders and gatherers

the collectors of imagery

A desperation for not a life in the digital but for the everlasting, extravagant and indeed constant stream of newly glossedimages formed and shaped and tangled and created 

Everybody wants to be somebody

Nobody wants to be any      body for some other body

BODY AS A JOURNAL

BODY AS A JOURNAL AS A PDF

Note taking 29.04.24 

Klara

Open call - text, reply to Meta-morf

A wish to keep our bodies offline, to stay under the cloud, staying offline, performance and material based, material of references on overhead? in a performance where someone changes the images and texts, projected up on the clouds. 

ArtsATL: How did you discover performance art?

Platner: My idea of performance developed in 2013 when I was diagnosed with a chronic illness. I thought to use my body because that’s what I was feeling the most challenged about. I was trying to understand my body and deal with the loss of time, the inability to control my body and not being able to predict what the next day would bring.

https://www.artsatl.org/qa-amanda-grae-platner-makes-sense-of-the-world-through-paint-and-performance/

Hej… !

I koppling till Meta-Morf biennalen 2024 ska studenterna vid Kunstakademiet i Trondheim arrangera en utställning i Galleri KIT. Vi planlägger att använda flera längder tyg till att klä in galleriet för att projicera bilder på och transformera rummet och känslan av det. Därför kontaktar vi nu teatrar, dansstudios och museum för att se om det finns tyg från tidigare produktioner som vi kan ta över eller låna. 

Har ni möjligtvis tyg på ert lager?

Med vänliga hälsningar 

Klara Lager Sandberg

Maritea Dæhlin er en kunstner som jobber og bor i Norge og Mexico. Hun er spesielt interessert i atferdsmønstre, emosjoner, ritualer og møter. Arbeidet hennes spenner fra teater, video, performance, lyd og scenetekst. Kunstnerskapet hennes er preget av det lekne, ikke-lineære og til tider absurde.

Sleep Locks the Bones is a sound performance where text and voice stand at the center in a collective experience around the theme of sleep. Audiences, in small groups, are invited to settle into a comfortable position, relax and then listen to a voice that fails to do just that: to relax. The piece intertwines language, rhythms, narratives, and dreams, creating a vibrant scenic auditory landscape.

https://www.mariteadaehlin.com/projects/sleeplocksthebones

"Sleep" is the theme that ties it all together. Sleep as a metaphor for a place where we can completely let go, feel safe, give space to our subconsciousness and dreams. But also an invocation of its opposite: being completely awake, so much so that you continuously read the world around you.

Notater møte Kunstarken 2904

morten

In Work Week Performance (Bipartisan), artists Amanda Grae Planter and Hasani Sahlehe worked together to transform the 20x 20x 20 gallery space.  They worked sixteen hours a day, for five consecutive days.  There was no conversation about the process, or the desired outcome, only that both artists agree to work towards a successful piece.  There was no verbal communication during the performance. 

The two artists took turns, creating one mark per turn.  For each artist the choice of material, and tool will be made by the other artist.  During a turn, one artist considered what they would like the next mark to be, prepared a tool (example, load a paintbrush with paint), then hand it to the other artist to create the mark.

This performance was an exploration in trust, expectations, and loss of control.  Both artists desired the piece to be successful.  However, their individual ideas of success, and how to accomplish that goal were different, creating tension, conflict, and resolution- developing and crescendoing through a body language repertoire that evolved over the week. What emerged was visual jazz.

https://www.mirandakyle.art/bipartisan

Art dealing with bodily function.

Mental landscapes

artworks printed in originalsize