To make it easier for myself, I will fill in my essay structure. This will allow me to preserve the structure in my head, which I have been looking for so long.
Emotions
Introduction of the overarching theme of personal trauma and its synesthetic expression through unconventional materials in the context of contemporary conflict.
My statement:
1. My perception of events is more complex. An unexpected new reality, the loss of loved ones and the search for a new identity cause pain, discomfort, and emotional and synesthetic reactions. This leads to the desire for self-healing and splashing out emotions into the material.
Book, Text, Essays: Lynn C. Robertson, Noam Sagiv (2004) Synesthesia, Perspectives from Cognitive Neuroscience. Oxford University Press, USA “ It should be clear by now that synesthesia touches many major aspects of human cognition: perception and attention, consciousness, memory and learning, language and thought, and, finally, development.” p. 15
Artists to research this: Wassily Kandinsky, Olivier Messiaen, David Hockney, Christina Seely, Carol Steen, Michael Torke ...
2. Emotions acquired a central place during the conflict. The loss of loved ones, forced departure to other cultures, hatred, manifestation of compassion and many other strong feelings - this is what has become key and a distinctive feature of the last two years. This is a change in the angle of attention in the new time - from non-personal, multicopy, digital art of the post-Internet, on superpersonal, unique, physical art of the post-conflict.
Artists to research this: Doris Salcedo, Ai Weiwei, Kara Walker, Kader Attia, Yoko Ono ...
Other opinions:
1. Cultural influences, cognitive processes or personal beliefs also play a significant role in the formation of emotional expression and perception.
Book, Text, Essays: Bessel van der Kolk (2014) The Body Keeps the Score. Brain, Mind, and Body in the Healing of Trauma. Penguin «Culture shapes the expression of traumatic stress.» (Kolk, 2014 p. 216)
2. One contrasting idea comes from the realm of post digital aesthetics, which examines the relationship between digital technologies and artistic practices in the context of the post-digital age. Post digital aesthetics challenges the dichotomy between the digital and physical by exploring their interconnections and hybrid forms. Artists and theorists in this field argue that the digital and physical are not separate but intertwined, influencing each other in complex ways. Therefore, rather than viewing physical art as diametrically opposed to digital art, post digital aesthetics suggests that they can coexist and inform each other.
Book, Text, Essays: Artie Vierkant The Image Object Post-Internet 2010
Artists to research this: Artie Vierkant
My Studio Practice and Written Research:
Affect theory, examines how emotions and affective experiences shape human behaviour, social interactions, and cultural practices. Affect theory highlights the power of emotions to influence perception, cognition, and action, emphasizing their role in shaping individual and collective experiences. Affect theory provides insights into how emotions are not just represented in post-conflict art but actively shape its production, reception, and impact on viewers.
Book, Text, Essays: The Affect Theory Reader, 2010 Melissa Gregg, Gregory J. Seigworth, Duke University Press
Action plan: Create a series of artworks that use colour, texture, form and unconventional materials to evoke specific emotions. Display these artworks in different settings and observe how viewers' emotional responses change based on the context.
Critical theories of embodiment and materiality (New Materialisms) offer perspectives on the significance of physicality and material presence in art. These theories emphasize the embodied experience of art and the materiality of artistic practices, suggesting that physical artworks possess a unique capacity to engage the senses and evoke visceral responses. By foregrounding the physicality of art in the post-conflict era, I think my idea resonates with these theories, which highlight the importance of the body and the material world in shaping aesthetic experiences.
Book, Text, Essays: Diana Coole, Samantha Frost, 2010. New Materialisms. Ontology, Agency, and Politics. Duke University Press Books
“As Stephen White points out, ontology involves not simply the abstract study of the nature of being but also the underlying beliefs about existence that shape our everyday relationships to ourselves, to others, and to the world: "Ontological commitments in this sense are thus entangled with questions of identity and history, with how we articulate the meaning of our lives, both individually and collectively." From this point of view, thinking anew about the fundamental structure of matter has far-reaching normative and existential implications. p. 5
and “matter's immanent vitality” p. 8
and “William Connolly weaves together insights about perception and power gathered from Maurice Merleau-Ponty, Michel Foucault, Gilles Deleuze, and contemporary neuroscience to explore how our attachment to the world shapes the texture ofpolitical judgment and critique. And finally, situating pain and death in relation to impersonal life processes, Rosi Braidotti reassesses contemporary forms of biopower and sketches the possibility of an affirmative ethics and citizenship.” P. 38
Action plan: Experiment with materials that have their own agency and vitality, such as living organisms or materials that change over time. Create artworks that evolve or interact with their environment, emphasizing the active role of materials in shaping the artwork.
Book, Text, Essays: Theodor W. Adorno, 2002 Aesthetic Theory-Continuum
Action plan: Develop a body of work that critiques dominant aesthetic norms and standards. Use my art to challenge viewers' assumptions about beauty, taste, and artistic value, encouraging them to reflect critically on their own aesthetic preferences.
Conflict
Highlighting the contemporary context of conflict and its relevance to shaping societal norms, aesthetics, and the evolving landscape of digital culture.
My statement:
1. propaganda has an unconditional influence on the formation of social norms and aesthetics, but it is not the only tool.
2. recognizing the digital era's impact on our perception of reality, especially in the context of propaganda and disinformation.
3. But in times of conflict, such variability gives way to the need for clarity and truth. It is not only about multiple instances of an object but also about identifying the original and distinguishing truth from propaganda.
4. The evolving landscape of digital culture situated within the context of Post-Conflict Visual Culture
Other opinions: There are factors like: individual character, critical thinking, and diverse cultural influences, complexities of cultural production and reception.
Book, Text, Essays: Edward S. Herman, Noam Chomsky. (2011) Manufacturing Consent: The Political Economy of the Mass Media, Pantheon "it does not imply that any propaganda emanating from the media is always effective." (Chomsky, Herman 2011). The authors argue that while propaganda plays a role, it is not the only factor in public opinion and cultural norms.
My Studio Practice and Written Research:
Propaganda often relies on certain techniques to shape beliefs and aesthetics.
1. Emotional Appeal: Create artworks that evoke contrasting emotions. For example, I could juxtapose images of conflict with images of peace, highlighting the emotional toll of war.
2. Simplification: I can use simple, bold imagery to convey complex ideas. My art could feature symbolic representations of key concepts related to the conflict, making them easily understandable at a glance.
3. Repetition: Incorporate repeated motifs or symbols in my art to reinforce a message. This could be a visual symbol that represents the consequences of war, repeated throughout my work to emphasize its impact.
4. Demonization: Challenge stereotypes and prejudices through my works. Humanize those affected by the conflict, portraying them with dignity and empathy to counter dehumanizing propaganda.
5. Selective Presentation: Create art that challenges one-sided narratives. Present a nuanced view of the conflict, highlighting the complexities and shades of grey often overlooked in propaganda.
6. Symbolism: Use powerful symbols that resonate with your audience to convey your message. These symbols can carry multiple layers of meaning, inviting viewers to reflect deeply on the issues at hand.
Book, Text, Essays: Stanley, Jason (2015) How propaganda works. Princeton University Press
Engaging with Vladimir Putin's ideas (this block I use from the Exercise for the Advance Practice Course.)
Exploration of Power Dynamics: Putin's leadership style and approach to governance often revolve around themes of power, authority, and control. Exploring these dynamics could inspire artistic investigations into themes such as oppression, resistance, hierarchy, and the manipulation of truth. You might delve into the psychological effects of power dynamics on individuals and societies, or examine how power is expressed and contested through visual representation.
Interrogation of Propaganda and Perception: Putin's government has been accused of employing propaganda and media manipulation as tools of influence domestically and internationally. His approach to shaping public opinion and controlling narratives could spark artistic inquiries into the nature of truth, the construction of reality, and the manipulation of perception. You might explore themes related to misinformation, censorship, the distortion of facts, or the power of images to shape public discourse.
Investigation of Identity and Nationalism: Putin's emphasis on Russian identity, nationalism, and historical narratives could inspire artistic explorations into themes of cultural identity, belonging, and nationalism. You might reflect on the ways in which identity is constructed, contested, and weaponized in political discourse, or examine the relationship between individual identity and collective belonging in the context of national narratives.
Critique of Authoritarianism and State Power: Putin's leadership has been criticized for its authoritarian tendencies and its suppression of political dissent. Engaging critically with Putin's ideas and actions could prompt artistic responses that challenge authoritarianism, advocate for human rights and freedom of expression, or explore the consequences of centralized state power on individual autonomy and civil society.
Reflection on Global Geopolitics: Putin's foreign policy decisions and Russia's role in global geopolitics could stimulate artistic reflections on international relations, conflict, diplomacy, and geopolitical power struggles. You might investigate the visual representation of geopolitical tensions, examine the impact of geopolitical events on individual lives and communities, or explore alternative narratives to dominant geopolitical discourses.
Exploration of Personal and Collective Truths: The dialogue with my mother highlights the existence of differing perspectives and truths within society, including within families and close-knit communities. What is the nature of truth, subjectivity, and the complexities of human perception? Investigate how individual beliefs are shaped by personal experiences, social influences, and cultural narratives, and how conflicting truths coexist within the same social context.
The evolving landscape of digital culture situated within the context of Post-Conflict Visual Culture
Chat GPT told me:
Generative Art Exploration: My ability to generate diverse and novel text based on input could inspire you to explore generative art techniques in your practice. You could experiment with generating poetry, prose, or conceptual prompts using AI, and then translate these textual outputs into visual, auditory, or multimedia artworks. This approach could foster unexpected connections and serendipitous discoveries, expanding the possibilities of your creative process.
Interactive and Participatory Projects: Drawing on my capabilities for interactive dialogue and engagement, you could develop interactive or participatory artworks that invite audience interaction and collaboration. For example, you might create immersive installations or digital experiences that respond dynamically to user input, facilitating meaningful dialogue and co-creation between artist and audience. This approach could foster deeper engagement with your work and generate new perspectives and insights through collective participation.
Material
Review studies on unconventional materials in art and their ability to convey personal narratives, considering their significance in post-conflict artistic expression.
My statement: Unconventional materials can convey the artist's narrative and therefore communicate stronger with viewers.
Other opinions: Some traditionalists (like in Russia) within the art world may maintain that mastery of traditional techniques and materials is essential for the development of artistic skill and expression. Additionally, there may be concerns about sustainability or longevity. The focus on materials distracts from deeper thematic explorations or critical engagement. The novelty or shock value of unconventional materials can sometimes also overshadow the artistic intent or message.
Book, Text, Essays: The object. 2014 Antony Hudek. Whitechapel Gallery, London. The MIT Press. Cambridge, Massachusetts
“In short, today the interface and the material object that supports it still seem to come from different worlds. The interface is a 'friendly alien', but it is still alien. The task of rethinking both interface and objects together so they can be fused into a new unity is not an easy one, and it will require lots of work and imagination before aesthetically satisfying solutions will be found.” (Manovich, Friendly Alien: Object and Intertace, 85)
Perta Lange-Berndt, 2015 Materiality. Whitechapel Gallery, London. The MIT Press. Cambridge, Massachusetts
“material is discussed today in the light of an idea that it has been dissolved by the so-called immaterialities of new technologies, while on the other - from the margins - we can observe the consolidation of material as a category of its own, alongside critical investigation of this category.” (Wagner, Material. 29)
My Studio Practice and Written Research:
1. Firstly, the artist takes responsibility for the risk in choosing such material. The risk is non-recognition, misunderstanding, failure of one’s experience, etc. I´m dealing with a commercial issue – galleries don´t want to show my works with unconventional materials.
2. Secondly, the productive transfer of narrative occurs because, as a rule, the artist has a personal history with such material. Here element of healing and rebuilding my past memories.
(examples, Louise Bourgeois and rigging, Phyllida Barlow and het things)
3. Thirdly, unconventional materials themselves can contain a story and therefore they develop into metaphors and symbolic images, which enhances the perception and involvement of the viewer. (Mona Hatoum - hair, glass, and household objects)
4. Fourthly, unconventional materials offer tactile, visual, and sometimes olfactory or auditory sensations that traditional art materials may not provide. This multisensory engagement can intensify viewers' emotional responses and deepen their immersion in the artwork's narrative.
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