Yes, Yes, Something, and ‘Another Day Another World’ Something EDIT TWO

 

Yes, Yes, Something, and ‘Another Day Another World’ Something

edit one 12/04/2009

Yes, Yes, Something, and ‘Another Day Another World’ Something

edit two 38/05/2009

 

I just threw away AUD$3300, I want to forget it.

Yes, Yes, Something, and ‘Another Day Another World’ Something is a project that seeks to examine the way relationships are developed with our personal and collective histories, and the way these histories inform and are re-interpreted in our present. I want to view archiving and our past present future as less linear and more integrated, renewable and cyclical, space where archives become part of and inform everyday life. Two new works will be researched and developed to form the structure of this project, Yes, y3s, Y3K and Another Day Another World. I will make one ongoing series of works which incorporates personal process into archiving through living. By this I mean there will be no distinction between archive and living as the works are made as a response to interpretation of past and present needs and ideas and processes into projections of how these will inform and effect the future.

 

Focusing on developing a current methodology for arts archiving working with the newly establish art-project-space Y3K in Melbourne the project Yes, y3s, Y3K will involve making video, interview, photographic and text to expand fresh attitudes for presentation and dissemination including printed matter for each exhibition and a web-site supporting video and browser feedback. These methodologies seek to look at projects and their documentation in a more intuitive way in collaboration with artists and audiences. I want to generate a space where the archiving of projects operates on an objective and subjective level, where these forms can sit side-by-side. I will be involved in research with DOCVA in Milan, the Cneai and A Constructed World in Paris and the web-blog SPEECH to investigate and aid the development of these methodologies. I will develop a new body of work through negotiated collaboration with artists participating in the gallery program over a 6 month period, this inclusive and responsive approach to practice is described by Y3K co-director Christopher L.G. Hill, where ‘within less direct collaboration…sometimes there are direct or accidental influences and sometimes the involvement is in the form of social interaction outside of the realm of art making’.  Setting up the blog Y3K and What Archive? http://y3kandwhatarchive.blogspot.com is the primary way I will be exploring a loose and excessive form of over personal and boring and exciting and stupid archiving of the gallery’s activities from meetings, iPhone interview uploads, rough ideas, e-mail conversations and a lot of everyday material associated and exposing the operation of the space.

 

 

Another Day Another World aims to expand personal history into wider global events and issues through the production of one ‘world image’ every day over a 6month period using the basic form of a map of the world. This body of work will be visually and materially loose using sculptural and other media to assemble collsections of objects and texts and develop a language of flow and daily documentation of their own logic, like sketches of the everyday based around the form of the wider world. The world map acts like a void, or just slightly more form than an image of deep space, onto which political and geographic divisions have been layered for personal and collective means. Talking about Marcel Broodthaers' Carte Du Monde Utopique, a work that is a standard political map of the world with only the title altered, Thomas McEvilley sees "… the world of political divisions become(ing) an arbitrary, artificial overlay on a material reality that lacks it."  By mapping each day it is taking a constant screen grab, instead of an eternal refresh. It is addressing the specific subjective material reality of my every day and acting like a sponge (bob). A way of recognizing the things that aren't going to slip and also what doesn't register, a reflection on my capacity or interest to want to hold onto or articulate these things on any given day. I will be in production of Another Day Another World during my research and development at Y3K gallery Melbourne, and my time with the Cneai and CareOf archive in Paris and Milan. . These maps are now going to take the form of furniture or design. I am only going to ‘do design’ for the next six months. Using transparent materials like glass and perspex to both act as vessels for display, as well as agents between high-end design aesthetics and cheap, crude everyday material I want to make work taking established production and design as its starting point. By processing archived ideas on ‘good design’ and living up to the present, I intend to re-interprit these ideas through personal production into a vigorously lived everyday circomstance. ‘cheap design’ is a core component of my methodology today. It is like cheap production but conceptually valuable, or engaging with an accessible demographic in a sincere way. I was at parallax architecture convention in Melbourne last week. Saw Slavoj Zizak speak for hours. He is lucid and powerful. I love the way he sees the world as a 'cosmic catastrophe' where everything is violent and for us to have gotten to this point catastrophe is the only explanation. There is no harmony in nature, everything is imbalance etc... Alejandro Zaera Polo from FOA was talking and he did this housing project in Carabanchel,  Madrid. The idea of cheap but conceptually sincere work.. He had this diagram of high-end luxury goods like Chanel and Dior on one end, and things like Topshop and ZARA on the other, and then one for luxury airlines and cheap airlines. Its just that you pay a premium to buy into a luxury ideology or something, but projects like the Slow And Steady Wins The Race and the FOA Madrid housing project subvert this buy allowing another ideology to be present. It seemed like there was a lot of leverage in the idea that I would prefer the $100USD SASWTR Gucci bag to the original $9,400 GUCCI one for both aesthetic and ideological reasons. This underpinning to trump idea is what I was thinking about with the Kuramata lights I was making. I am interested in flow, connection and magnetism.  Interrupting everyday flows of process and production and reclaiming the seemingly pre-determined. I want to save things, re-make things and interject embarrassingly personal elements into process which don’t allow for these, like that commercial Modernist production which doesn’t recognize simple everyday processes like eating, breathing, shiting or making mistakes.

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When Hu Fang wrote of Zheng Guogo’s exhibition My Home is Like Your Museum at Vitamin Creative in 2005, something like ‘we must accomplish the transition between art and life’ I thought fuck yeah, thank you! How can we make the distinction and still fee any relevance between the work we are making and the true issues that surround our worlds and lifestyle? The nuanced and difficult moments in human emotional understanding give themselves over in times of ease and are express themselves through living with an openness to the flows of people, subjectivity, etc… This is where I want to find the in-between space through objects and ideas to express my specific lived everyday concerns in conjunction with boarded social, political and ideological concerns. Power, connectivity, togetherness, that-which-we-share all come together as the personal is political.

 

 

I plan to use everyday materials in transformative ways. This occurs through combinations of objects which each embody particular social, political, economic ideologies coming together or developing a new relationship through arrangement. By using simple or commonly recognized materials but re-contextualizing them through applying personal process of production these materials enter new dialogues about large scale consumer manufacturing and it’s inability to accept the fucked and liberating, personal side of the human condition.

 

So it is simply making these objects with the look of some function but not knowing how they will operate in the daily sense, but putting that to practice and developing their use and their physicality and appearance as ‘worlds’ or whatever (I meant to writ ‘works’ but misspells it, spell-check changed it to worlds, it works, that what it is) through this process. I think of those collector crabs who build things on their backs from shit they find on the sea floor, or the blue birds, the ones which only collect blue objects to arrange in the nest to attract sex. It’s fresh, though.

 

 

James Duetsher

James Deutsher