Contextual studies - Lesson 1                4/09/19

CONTEXTUAL: (dictionary definition)

"adjective: depending or relating to the circumstances that form the setting for an event, statement, or idea.

During my first lesson in contextual practice I was introduced to the importance of approaching my work in a critical and integrated manner; in order to further my practice and gain the ability to analyse my work with supporting research. Through the introduction I was given in a group, it enabled me to reflect upon the link between critical thinking and having the ability to reference and select appropriate material through theory and thinking. I was additionally informed that the contextual practice lessons would later on support a piece of writing (750 words), which will be completed in part three of my foundation year. Through these sessions I will gain an ability to confidently discuss questions, theory and ideas I am exploring in future projects. I was talked through a presentation which included works of Heather Dewey-Hagborg, Lucy MacRase and Ryan Gander whom universally shared a continuous line of projecting into the future and exploring futuristic elements in their work. Through comparing these artists work, I found it useful in understanding the use of contextual practice in the broader sense by finding both similarities and differences of the contemporary artists work. I found Heather Dewey-Hagborg' work particularly interesting as it clearly sets out both the theory and critical thinking behind the work; 'Probably Chelsea' consists of algorithmically-generated portraits of Chelsea E. Manning, whom the artist created several different interpretations of through DNA strands. I found Dewey-Hagborg's work engaging to the audience due to the way it was installed, almost floating in mid-air but also because of the artists use of technology to create three-dimensional outcomes. 

Work shown in detail:

Ryan Gander, 'I see straight through you' 

Lucy MacRase, 'Swallowable perfum'

Heather Dewey-Hagborg, 'Probably Chelsea' 

After the presentation I was given the task to imagine what it would be like to live in the future, my group was asked to discuss what it would be like specifically if we lost our sense of smell. Through the discussion we came up with, and pushed the issue of hygiene and how reliant we are on our sense of smell whilst consuming food and our familiarity with our surroundings. We came up with a list of issues one would face if such a thing occurred and I found this list an interesting way of establishing initial ideas for my practice; not only did the list become more critical but I began to think of illustrations in order to support these imaginary outcomes. I was then given the task to write a small passage that described how, as a creative I would respond to the idea of living in the future.

Response to task: 

The stance you hold on the future is largely miniscule. To begin to understand how to reverse aspects of life is both demotivating and a tangle of issues that one can not achieve through thought. There is a real imbalance in the continuous stream of data that is put through several algorithms that controls and multiples without using our senses. You walk through a type of 'fog' where each person is carrying a watch that holds health, location, itinerary and contact data, which will later be used to define and stimulate the user. Now the role of the 'stimulator' and the 'stimuli' is very closely intertwined - the choreographer is controlling the deep heightened feeling of stimulus; from large electric adverts to data-based shopping websites. The consumer uses a kit that contains a mobile with tracking devices, location sensors, a personal 'consumer trainer' controlling the 'active' hours that one person has in being a consumer.

Bright and early, sirens are heard throughout the roads of the last patch of green - robots awake to begin tests on the fertile grounds in order to take advantage of the season. The removal of detail and thought has left these robots alone.

Once I completed the visualisation I paired up with another student whose description of the future was more personal compared to my 'outsider' platform I adopted for my text.

How could you apply your vision of the future to your 'Ideas Factory' visualisation?

Through this exercise it helped me apply my ideas for the 'Ideas Factory' project in terms of understanding the importance of clear visual aid in order to support my visualisation. Plus, I found the simple but effective practice of imaging scenarios useful in terms of 'brain dumping' ideas to support my practice. The exercise boosted my confidence in creating a rather abstract concept of my current idea for the 'Idea's Factory' project which I am going to use software in order to clearly show my idea to a group of people. The group discussions I had helped me to critically reflect on my mock-up drawings, which I decided needed to be clearer in order to create a successful visualisation for my project. 

Contextual Practice                   5/09/19

Was your outcome successful and how did your peers react?

In general I think my visualisation was partly successful as I was able to capture to an extent my idea for the project. 

Did your approach clearly communicate the concept and capture people's imagination?

How did it feel being part of a group crit?

What feedback did you get from your peers during the crit? Was it useful and how did this make you feel?

Contextual Studies - Research Task     10/09/19

Hito Steyerl:

Why this subject specialism interests you as a future career?

 German filmmaker and innovator, Hito Steyerl discusses the global circulation of images in her work and has made strong connections between the role of video art in discussing the new age of technology. Steyerl's essay, 'The Wretched of the Screen' looks at artists like Thomas Ruff who untangle the economy of the image, reducing it down to pixels - solely a JPEG; thus, the artists book, 'Duty Free Art: Art in the Age of Planetary Civil War' examines arts place in a world of digital globalisation. More recently, I visited Steyerl's work at the Venice Biennale entitled, 'Leonardo's Submarine' (2019) and prior the artists show at the Sackler Gallery, Serpentine, 'Power Plants' (2019).

Steyerl's Immersive installation at the Venice Biennale discusses Leonardo da Vinci's invention of weapons, although da Vinci didn't ever undertake projects due to his understanding of the destructive nature of the submarine. The purpose of the video art is to call out Italian defense contractor - 'Finmeccanica' who recently changed the company's name to Leonardo.

• Artist engages with predictive artificial intelligence to generate fictional video simulating Venice's palazzos and skies - artwork targets the company which has supplied weapons used by the Turkish armed forces against civilians in Syria + war planes to Saudi Arabia.
• Steyerl engaging with "artwashing" new informed attempt to rid controversial corporations with art institutions/galleries/partnerships etc.
• During April 2019 the Sackler family - donors of Serpentine galleries were called out after the families company, ``Purdue Pharma' was behind a painkiller causing an opioid crisis in the US.
• Tate has additionally been called out after its partnership with the Sackler family - artists like Nan Goldin protested against the drug Oxycontin widely prescribed in America - protested at the Guggenheim with posters, 'Sacklers lie. People die.'

Effect on the audience…… engages with futurism

• Steyerl's pioneering figure of 'video essays' which critically acknowledge the future of global digitalisation and how this will affect the art market. Her site-specific work engaging with the viewer through primary research or use of video installation is critical for her practice. Steyerl's use of software and virtual reality pushes the boundaries of being a creative practitioner

Omar Kholeif 

Omar Kholeif is a writer and curator who engages with art concerning the internet, Kholeif's created a collection of essays entitled, 'You are Here, Art After the Internet' discusses the wide boundaries of being in an era of 'Post Internet' and how, in Kholeif's text this interdisciplinary environment shifts the curators role. The notion of living in a 'Post Internet' era coincides with the concept of 'community', how the global use of technology allows for a reactive environment however puts strains on authorship and the dangers of being in an instantaneous sphere. Kholeif's writing discusses in depth how individuals are all 'curators' through online collections like artsy through to, what Kholeif describes as the 'click happy nature' of making collections through Amazon; the curational field has vastly expanded. This particular enquiry into this new relationship an artist has with the curator and how everything has turned to an 'audience led ethos' intrigues me. The writers inquiry into the future for our 'Post Internet' generation links back to Steyerl's configured role as the artist and 'maker' also takes on the role of being weary of the curators tendencies and how this has an impact on the viewer.