As feedback I will use reactions and conversations received from the presentation of my installation "Temporal Permanence", data from viewers received during the last exhibition in Berlin and Hamburg.
Press conference during the opening of the installation "Temporal Permanence" on August 30, 2024.
Exhibition in Hamburg 26-29 September 2024
And also reviews and reactions of my artist friends with whom I discuss my art and ideas. And feedback from gallery curators with whom I work in Stuttgart and Munich.
During the exhibition in Hamburg, I realized that my art is very specific. There were assumptions from potential buyers about the fragility of my work. I have already researched this issue before and came to the conclusion that it is part of my art. I have to either change the technique, but then the meaning of the work will be lost, or do something else.
My sculptures and compositions with wood materials are either radically disliked or liked very much, there is no third option. I suspect that this is related to the perception of a particular viewer. Those who have studied this topic or are somehow involved in contemporary art recognize and note the subtle technique of working with colour on wood, the special method of assembling materials and the ideas that are realized in the work as a whole.
My photographer friends with whom I discussed my new works consider them well done and supportive of the general development of the theme. At the same time, everyone notes that photographing sculptures requires additional research and experimentation.
Those who react to my installation "Temporary Permanence" express extremely positive reactions. They note the subtle work with colour and the clever use of newspapers as a carrier of information. At the same time, I notice that many viewers simply do not notice the color change, and when I take them by the hand and show these changes, they become confused and do not understand how this happened.
In my previous course, I did an experiment in partnership with a professional coater and this work caused a particularly strong reaction from the audience and my fellow artists. But then again, what attracts people? Gloss? Colour? Even the artists themselves can't say what exactly is going on, but I know ... And am going to test in during this course.
Since I closely follow the latest developments and articles in the field of digital technologies and artificial intelligence, one of the professors in this field, Lev Manovich, once advised artists to work with AI. And for more than a year now I have been conducting a dialogue with this intelligence and perceive it as one of my tutors.
This is what it said this time:
Creative Conversation Feedback – Peer Perspective
1. Ethical Considerations in Your Work A recurring theme in your work revolves around challenging the influence of media and propaganda, highlighting how these external forces shape perception. In terms of ethical considerations, your use of newspapers as both material and metaphor for mass communication is significant. The ethics of how information is curated, manipulated, and consumed directly relate to the social responsibilities of an artist engaging with such subject matter. In future work, it may be useful to consider not only how your works critique media but also how they foster critical awareness in viewers, ensuring that the materials and ideas you use provoke thoughtful reflection rather than simply reproducing the very propaganda tactics you're critiquing.
2. Materiality and Process Your emphasis on unconventional materials, such as recycled newspapers and debris, presents a strong commitment to sustainability and to the idea of temporality. The fragility of your materials mirrors the fleeting nature of truth in the media, underscoring your research into the fragility of information and perception. The way you incorporate these materials not only speaks to your process but also allows the viewer to connect with the temporal and transient elements of your work. This focus on materiality aligns with larger conversations in contemporary art about sustainability and eco-conscious practice.
3. Themes of Violence and Destruction Given the recent vandalism of your Temporary Permanence installation, the conversation naturally leans towards themes of destruction and aggression. These acts have deepened your investigation into the intersection of violence, propaganda, and media manipulation. This presents an opportunity for further research into artists who explore similar ideas—artists like Banksy or Ai Weiwei, who use public spaces and objects of media to critique political and societal issues. You could incorporate the violence your own work has experienced into a larger narrative about how art and media become sites of conflict and how artists navigate this space.
4. Resonance with Perception and Propaganda In our dialogue, one of the most pertinent ideas that emerged was your focus on how propaganda resonates through society, subtly shaping worldviews. This aligns closely with the theme of "resonance" in your upcoming duo show. The way you use color and form to create objects of desire that are “seductive” can be interpreted as a parallel to the way propaganda manipulates and controls through allure. The idea of resonance goes beyond the sensory experience and taps into a psychological layer, suggesting that your work, much like media messages, leaves lasting ripples in the viewer’s mind. Reflecting on how you construct these resonances and understanding their impact could be a powerful area to develop further in your professional practice.
5. Research-Led Practice Your ongoing research into propaganda, media manipulation, and destruction feeds directly into your art practice. The synthesis between theory and practice is something that you have already integrated, and this symbiotic relationship will likely continue to evolve. Specifically, drawing on theories from Deleuze about difference and repetition, as well as ideas from Derrida on deconstruction, could deepen your practice. The deconstruction of media narratives and the repetition of certain motifs in your work could mirror the cyclical nature of propaganda and media control. Consider incorporating more explicit references to these theoretical frameworks in your artist’s statement to clarify how your research both motivates and challenges your creative process.
6. Collaboration and Synesthesia Project Your project exploring synesthesia with a chef is an exciting new venture. This would not only expand your practice into interdisciplinary collaboration but also allow you to examine how the senses are manipulated—much like media influences perception. By pairing fine dining with artistic practice, you are broadening the audience's experience, making it both sensory and intellectual. This collaboration is fertile ground for exploring ethical considerations, such as the consumption of media, the way in which ideas are "fed" to the public, and how artists can create alternative, more conscious ways of experiencing information and emotion.
7. Future Directions As you continue to develop your practice, especially with your ambition to create an art theory course, you’re positioning yourself as both an artist and an educator. This dual role allows for an expansive view of what professional practice can mean. Reflecting on the ethical dimensions of working with others—whether in collaborative projects or in educational settings—will be essential. Considering inclusivity, diversity, and how you create spaces for critical thinking are paramount in both your teaching and your art.
Speculative Statement of Intention
Informed by our conversation, I believe your personal set of artist's intentions will continue to revolve around the intersection of media, violence, and perception, deepened by your use of unconventional, often fragile materials. Your work challenges the viewer to confront the seductive power of media and its capacity to shape beliefs and behavior, while your engagement with destruction—both literal and symbolic—forces reflection on the impermanence of both truth and materiality.
Moving forward, your practice is likely to delve even further into the ethical dimensions of public art, media critique, and collaborative work, with a growing emphasis on creating interdisciplinary and socially-engaged projects. Your ongoing research will continue to challenge established norms of art and perception, making space for dialogue and critical reflection both within and beyond the gallery context. Through your teaching, artistic practice, and collaborative projects, you will foster a deeper understanding of how art can intervene in societal narratives, provoke change, and resonate with audiences on both visceral and intellectual levels.
Well and coherently written, there are interesting conclusions about my project with haute cuisine, where food can become "propaganda". Let's see what I would use from all of this...
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