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Working With Other Others - Authorial Strategies 2003 - 2014
- 1. Working with other others Authorial strategies 2003-2014
- 2. Other 1 Mark Jackson (human)
- 5. The Singing Sculpture, Gilbert and George, 1970
- 6. Relation in Time, Abramovic and Ulay, 1977
- 7. Suddenly This Overview, detail, Fischli& Weiss, 1981
- 8. Rhetoric Works & Vanity Works & Other Works, Tatham and O’Sullivan, 2011
- 9. Depression, Tatham and O’Sullivan, 2009
- 30. Other 2 Computer code (non human)
- 36. Desmond Paul Henry, 1962
- 37. Condensation Cube, Hans Haacke, 1963
- 38. 100 random chromosomes,Philip Galanter, 1997
- 39. Noisolation Headphones, Alex Braidwood, 2012
- 41. Other 3 The web (human and non human)
- 42. Vending Machine, Ellie Harrison, 2009
- 43. Ten thousand cents, Aaron Koblin, 2008
- 44. Ten thousand cents, detail, Aaron Koblin, 2008
- 45. The Future of Marriage, Jeremy Bailey, 2013
- 46. Hypergepgraphy, Joe Hamilton, 2011
- 47. Riverofthenet, Ryan Trecartin and David Karp, 2010
- 51. Nude Descending a Staircase Marcel Duchamp, 1912 Flickr Nude or Noodle Descending a Staircase Webb, 2013 (detail)
- 53. References Claire Bishop, Participation, 2006, Whitechapel Art Gallery, 2006 Claire Bishop, The social turn: collaboration and its discontents http://mafineartcontemporarypractice.files.wordpress.com/2010/04/claire-bishop.pdf Josephine Bosma, Nettitudes - Let's Talk Net Art, NAi Publishers, 2011 Nicholas Bourriaud, Relational Aesthetics, Les Presse Du Reel, 1998 Charles Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, UNSW Press, 2001 Esther Leslie, Synthetic Worlds: Nature, Art and the Chemical Industry, Reaktion Books, 2005 Charlotte Webb www.otheragents.net @otheragent
Editor's Notes
- Lamps were a way of opening up the practice onto design - because we were very interested in an ambiguity in the status of objects
- Star ghost
- Going to show things out of chronological order – excuse jumping aroundSubstance, invented, called Purple Tack. Compound of blue tack, wax and red pigment, which when mixed together creates a purple, sticky substance. We used it as an adhesive, a printing medium, a sculpting material.Also a conceptual proposition or metaphor for ambiguous relationship between the collaboration itself as an entity, and the objects we/it produced. Was the substance of JW the collaboration itself, or the works? This piece is called ‘Standing Reserve’(2010) and is simply a blob of purple tack placed in a jar. Qs this work raised:Was the creation of the material itself ‘the work’, or was there something to be done with it? What was the relationship between these two?How should did material function in the practice? Became metaphor for conundrum of JW:Was the creation and substantive fact of the collaboration itself’ the work’, or was there something to be done with it?How was the collaboration functioning in the practice? What was the mechanism by which the fact of the collaboration would be transformed into ‘art’ or art objects?For me, purple tack at its best just as stuff in a jar, laboratory like – lost charm when deployed for image making purposes
- Star ghost
- Made using technique of hand-painting and cutting individual paper triangles, gluing them together to create a faceted structure around an internal framework. Building structure from component parts – modular format – a way of structure emerging as we went along – no prototype.As well as practical function, triangles and modular approach signified a logical or rational approach. Though this lamp looks very orderly from this perspective, it was actually interrupted on the other side with a lump of purple tack which acted as a weight, and an attempt to de-classify the object.
- This work began to tackle the assumption I mentioned at the beginning of the talk that the generation of meaning is most appropriately explored at an individual human level.2006, attended Esther Leslie lecture - she drew from Synthetic Worlds: Nature, Art and the Chemical Industry - an astonishing account ofhistory of German chemical industry. Talkincluded images of chem experiments by 17th century scientist Friedlieb Ferdinand Runge. Images made by dropping chemicals onto paper and reacting them with what’s called a re-agent.Leslie described these eye-like images as ‘nature staring back at us’ - the idea of agency shifts away from the human, and is located in the natural environment.17th Century Romantic,Runge saw exps as embodying nature’s ‘will to formation’, or manifesting nature’s inner will. Fascinated by this conceptualisation - this has been one of the key aspects in the genesis of my current project – how might we see (and how historically others may have seen) there to be a non-human agency at work in the creation of art works or other forms of cultural production? Could put Runge’s ‘will to formation’ interpretation down tohistorical position in Romanticism, culture of animism and totemism - BUT the idea that there is somecreative agency at work beyond us as individualsseemed a fascinating way of conceptualising collaboration. Approached Imperial – wanted to recreate his experiments. PhD student Dora Tang, working across art and science (at Slade & Imperial) - worked with her to make a series of ‘chemical drawings’. These were made by mixing up solutions of chemicals, and pipetting small drops of them onto sheets of stretched paper. Onto the chemical mixture we then pipetted a reagent, which caused the chemicals to react with each other and travel through the fibres of the paper. We used a process of ‘reverse engineering’, by following Runge’s descriptions of (recipes for) his experiments, and our results appeared to be surprisingly similar to his. Another instance of using instructions to generate work?
- Key issue raised in project - was it ‘truly’ collaborative? Dora’s role was providing knowledge and expertise. No input at a structural level – e.g we had agenda. Dynamics unbalanced. ‘An Experiment in Collaboration’ at the Jerwood space - had to nominate someone to work with specifically for the show. Took it as opp to address issue of the structure in JW/Dora collaboration, aiming for a more balanced dynamic in the group. We wanted to create the terms of the project together.Much discussionabout how to work together – echoed beginnings of JW’s collaboration. JW, conversations became the work as much as objectsUsed a blog to record email and conversation exchanges, and this was shown as part of the exhibition. This time, we also filmed the reactions taking place, and again questions of the status of the work were at the forefront -– was it art work, was it documentation, should it be edited, should we show it in it’s full, unedited format?Left materials as untouched as possible – video unedited, paper left stretched on boards, blog printed out on A4. Enjoyed ambiguous status of works.
- YouTube search for "60's light show”The Joshua Light Show, “Liquid Loops” (1969), spacedoutthebooks;The Red Krayola - “Hurricane Fighter Plane”(1967), psychedelatrip (AUDIO)Hans Jenny – “Cymatics – Bringing Matter To Life With Sound (Part 2 of 3)” (????), itai82; The Silver Apples – “Lovefingers and Program” (1968), Silverapples666 (AUDIO)Buenisimos los silver apples, heliovskypetrov, (2009)…(a comment)In retrospect, making the elements link to the source would have been a good way to be generous to the authors.
- http://www.otheragents.net/ptmd/PTMD4.html
- http://www.otheragents.net/little_fly/LF6_Psychedelic.html
- http://www.otheragents.net/infiniteviolets/tpov.html
- Digital social research techniques that ground claims about cultural change and societal conditions in online dynamics
- http://www.otheragents.net/DescendingStairs/