PRESS ROOM respond to Vanessa Kwan’s brief “The whole of the institution, the mansion, the city can’t contain the phantom, the figment, the creep; how do we build a home for restless practices?”
PRESS ROOM on Twitter: @pressroomvenice #restlesspractices
Transcript of conversation with Debra Levine at the Creative Time Summit, 12/08/2015, responding to Cesare Pietroiusti’s brief: Lo senti il vento? / Can you feel the wind?
Do you think artists are poets or politicians?
I think art is situational… so… I think that the one thing artists have is the ability to choose modes of discourse, modes of practice in relationship to their… …their concerns, their obsessions… um.. and what they do in the world… and sometimes a poetics activates an audience that they might be trying to reach, or… activates the issue far better than a direct… um.. political polemic. I don’t, sometimes I think that political language itself is obfuscating or ah.. um.. it can narrow down your vision aswell, so the choice to.. work with political language, either.. um.. for the fact that it may be transparent or may obscure something, also could be a poetic choice, I don’t think that there’s a binary between the two. I think that artists.. um.. really think very carefully about the mode of operations that they choose, and then.. ah.. some also.. may have.. a much more.. innate.. um.. verge or tendency to work with one material or the other, but I think that its also, its culturally (inaudible)
Transcript of conversation with Line Mejia and Aline Hernandez at the Creative Time Summit, 12/08/2015, responding to Cesare Pietroiusti’s brief “Lo senti il vento? / Can you feel the wind?”:
Do you think artists are poets or politicians?
… (muffled laughter) …
I would think politicians are joksters… and.. should be poets…
and poets should be politically active… um.. that’s it!
Jade Montserrat responds to Simone Leigh’s brief “If the World’s Fair Pavilions were a recreation of the colonial project while it was still happening, what does the Venice Bienniale do?”
On reaching The Probable Trust Registry (2015; Venice Biennale installation + Participatory Group Performance):
We talk with the Receptionist, she witnesses signatures and we engage in conversation with another, sceptical (a grammatical problem: I will always be too expensive to buy), potential signator;
An exchange follows between myself and the Receptionist
>Adrian Piper, the Black Artist?
> (said with quiet, firm, neutral conviction) no (preceded by something along the lines of she is no longer black or not black anymore or no longer identifies as black or doesn’t want to be labelled as black)
Jade Montserrat on Twitter: @jademontserrat
PRESS ROOM respond to Vanessa Kwan”s brief “The whole of the institution, the mansion, the city can’t contain the phantom, the figment, the creep; how do we build a home for restless practices?”
Exploring what a restless practice might be led to a Twitter search for individuals descrbing themselves as #RestlessArtists
PRESS ROOM respond to Vanessa Kwan’s brief “The whole of the institution, the mansion, the city can’t contain the phantom, the figment, the creep; how do we build a home for restless practices?”
PRESS ROOM is inviting artists with a restless practice to take part in a Twitter conversation from 17:30 to 18:30 GMT on Thursday 13th August
Robert Frankle responds to Terry Smith’s brief “Nationalism is a powerful divisive tool. If complex social, economical and personal issues can be encapsulated into a simple idea then there can be catastrophic consequences. If the problem can be made to seem simple then the solution can also be made to be simple, so simple it seems a gun or a knife can solve it.”
Nietzsche: “Truth tends to reveal its highest truth in the guise of simplicity.”
John Lennon: Imagine peace
Webb-Ellis respond to Stuart Cameron’s brief ”Exiles from the garden explore the periphery” through INFR’ACTION VENEZIA 2015, a performance by Karolina Magnusson-Murray.
Karolina Magnusson-Murray: INFR’ACTION VENEZIA 2015 from Webb-Ellis on Vimeo.
Webb-Ellis on Twitter: @WebbEllisArt
Filippo Lorenzin responds to Stuart Cameron’s brief “Exiles from the garden explore the periphery – Stuart Cameron @crescent_arts”
I opened my microphone and walked around the Giardini. I encountered tourists, kids, mums, dogs, dads and Venetians. Here’s the map: @fi_lor
Webb-Ellis respond to Mike Stubbs’ brief “All you can do is glean information from the tiniest fragments. Trying to see everything makes you ill”.
Go and See from Webb-Ellis on Vimeo.
‘Go and See’ was made during a 2,418 mile journey over land to the Venice Biennale. A barrage of faces and masks, otherworldly figures on the roadside, the interior of our home as it barrels along the motorway. These fleeting images take on a bizarre significance as they layer and loop back, unpicking the seams of the everyday.
Artist’s work in the video, in order of appearance:
Karolina Magnusson-Murray | Performance for INFR’ACTION VENEZIA
Graham Fagen | Palazzo Fontana
Marco Biagini | High Visibility Burqa
Filip Markiewicz | Grand Duchy of Paradiso Luxembourg
Fazil Najafov | Beyond the line
John Court | Performance for INFR’ACTION VENEZIA
Wangechi Mutu | The End of Carrying All
Fiona Hall | Wrong way time
Voice Over: Jiddu Krishnamurti
Drumming: Kate Walters
Webb-Ellis on Twitter: @WebbEllisArt
