Karen Chan & the SUPER 8MM

Do you know what a Super 8 mm film is?

This is what Wikipedia is for. No, seriously, click the link if you want the history of ‘Super 8′ and Kodak. I’ll just quote their one line explanation, “Super 8 mm film (often simply called Super 8) is a motion picture film format released in 1965 by Eastman Kodak as an improvement of the older “Double” or “Regular” 8 mm home movie format.”

Super 8 is the choice of medium for one of our 52 artists in the current show, Irrelevant. Karen Chan (see more of her work here) began working with the ‘Super 8′ two years ago and is continuously exploring, experimenting, and expanding artistically with this tool. Arario Gallery had the pleasure of hosting her workshop this past Thursday evening. As our small shy crowd grew into a large curious one, Karen brought out five Super 8′s and had her audience experiment and explore with their own film.

From my observation, the engagement between artist, audience, and medium is exactly what art organizations seek today– audience engagement with art and artists. It is the kind of interaction necessary for art organizations and artists to reach out to their audience on a different level. A teaching workshop allows art enthusiasts and novices to understand and relate to an artist in a more intimate conversation. People want to know what artists are thinking or how and why they came to the point they are standing at. Sure, some artists want their audience to be receptive and reflect upon their art in their own way, but sometimes we, even us art enthusiasts, need a little help in the contemporary art department.

Karen’s workshop was not necessarily a full-on detailed report of her videos made with the Super 8, but rather, it was a lesson in how an individual can create art the way she has.

Indeed, the Super 8 seems to be a celebrated medium of film being resurrected in fine artistic form. Check out these links here:

- http://homepage.mac.com/onsuper8/

- http://www.super8camera.com/

- http://www.super-8mm.net/

Thank you, Karen, for sharing your expertise with us!

LC

URBAN GARDENING with Tattfoo & Friends

Tattfoo Tan with guests:

Derek Denckla, curator and activist
Andrew Casner, an urban farmer and artist
Daniel Bowman Simon, advocate
Aki Baker, designer and activist

Who knew Urban Gardening was so prevalent in New York City? Actually, the city doesn’t even know how prevalent it is. Through these curators, activists, artists, and advocates, a desire to share knowledge and awareness was necessary for a Thursday evening at Arario Gallery.

Examples of what these artists/urban garden activists are up to?

• FARM CITY: http://farmcity.us/ ”Farm City is a curatorial project launched by Derek Denckla as a means to explore new visions for urban agriculture.”
• Garden Studio: http://andrewcasner.com/index.html An artist’s work with gardening
• White House Kitchen Garden: http://www.thewhofarm.org/ Guests discussed hopes of bringing something similar to NYC and rejoiced in Michelle Obama’s efforts.
• PEOPLE’S GARDEN NYC: http://peoplesgardennyc.org/ Asking Mayor Bloomberg to plant a garden in front of City Hall: “This garden will represent the vision of a more sustainable, livable City for all New Yorkers, and will contribute to achieving the intents of PLANYC by 2030.”
• Aki Baker: http://www.akiackee.com/ & http://twitter.com/akiackee Artist/Activist engaged in the active discussion of urban gardening, farming, and the improvement of society.

This was a dynamic discussion for all urban gardening enthusiasts. The audience was incredibly focused and attentive, while asking questions about current projects and signing petitions for a city garden. As Tattfoo has stated, this roundtable discussion was a perfect opportunity for enthusiasts, advocates, and artists alike to network, meet other people who care about the same issues, and exchange thoughts, ideas, and opinions. Tattfoo will continue to spread the message and ideas with his friends, especially next month with “Derek Denckla’s Farm City (A celebration of Urban Agriculture) this September 12 and [...] Aki Baker at Greene Hill School” in 2011. I think all artists and participants who were present would agree with Tattfoo, Thursday night was a “night of articulate discussion” on Urban Gardening.

Check out the vid here: http://www.blip.tv/file/3919877 and an article written by Leslie Koch.

LC

Jane V Hsu Says “”Platypus,” They Said”

Platypus? Similar to Duras’ “”Destroy,” She Said”, Jane Hsu’s collaboration with the contemporary music ensemble, The Meanwhile, conveys electrifying and mesmerizing emotion through visual and sound effects. It was a visual experience enhanced by the sounds resonating from the bassoon and electric instruments of The Meanwhile.

 

• Your current piece in Arario, “People Were Made to Disappear”, was inspired by personal events; how did “”Platypus,” They Said” transpire?

[JVH] As PWMTD was inspired by real events with my dog sitter’s ability to turn my dogs into devils:  http://articlejournal.net/2007/06/08/the-fish-who-drew-her-own-diagram-story-and-recipe/, Platypus came from the odd instrumentation of “The Meanwhile.”  I thought the strange combination of electronic instruments, the rarely seen improvised bassoon, and cooper pots reminded me of the platypus, a patchwork creature, that emits a kind of electricity, similar to an eel.

• I read a summary of Duras’ book, “Destroy, She Said”, and wondered if the use of music and images replaces the intense cadence of words/language.

[JVH] A direct relation would be the end of the video, where a black screen speaks to the viewer about the platypus.  At the performance, the words could not be heard, so I added the subtitles in place.

• Do you feel that the music enhances the emotion conveyed by your video? Is it your intention that your audience feel a certain way?

[JVH] What I enjoy about working with “The Meanwhile” is that they improvise all of their pieces.  As the audience and space changes, the music for the video will adapt to various environments.

• Is it the responsibility of the viewer to make sense of what’s happening within the video, and the music inspires a stronger sense of emotional response?

[JVH] Once the music fills up the environment and the projected video lights up floor, the viewer should become part of the experience.

• When did you begin collaborating with The Meanwhile? Was it a meeting by chance, or did you both inspire one another?

[JVH] I started making my own music for videos (people were made to disappear), then I moved to making silent videos, then giving them to composers and musicians to play with.   My own background in music helps me edit sequences for sound, even if there is no sound for the piece.  Once I saw how musicians reacted to my visual images, I decided to have them improvise with the videos to a live audience

• Do you think the relation between your video and The Meanwhile’s music is a conversation, a reaction, or an interweaving art piece (all of the above?)

[JVH] I believe that video and music should be an ongoing dialogue.  The more I work with musicians, the more integrated and dependent the video becomes on their other medium.  I wish to create a separate, unique medium out of the collaboration between video and sound.

 

This performance reaches an audience on different levels; conversation between the musicians and the videowork of Jane Hsu, an experience for the participating audience, and a unique medium formed from the combination of video and instrument. As Jane has stated, the musicians’ performance with a live audience and in different environments creates a unique experience for everyone every time. It’s great to witness an artist experimenting their own art and expanding their own experience by working with other artists of different mediums. As the platypus emits electrical signals, so does this artist with her visuals and electric sounds.

 

LC

TATTFOO: Your Neighborhood Master Composter

Worms? Dirt? DIY compost?! HM.

Master Composter, Tattfoo Tan, honored us with his presence this past Thursday evening (July 15th) and spoke to gallery patrons about creating your own compost bin at home. He actually maintains a bin here inside the gallery, live worms and all. Bring a small container to take a few free live worms home with you! Though I did not have the pleasure of listening in on the complete step-by-step procedure due to monitoring the gallery, I did happen to step in as he was saying how great worms are for your compost because they “sleep, eat, have sex, and poop all day”… really?? Even with a few chuckles from his audience, Master Tattfoo was completely serious and proceeded to pile on the layers of fruit peels, newspapers, and worms.

Post-discussion of composting, I spoke with him briefly and emailed a few more questions later on. I truly admire his work, as an artist and composter. He is what his website states: “Tattfoo, artist, cultural worker, social sculpture, relational aesthetic,” and more.

• As stated on your website, you explore the individual in society. By creating eco-friendly practices and deriving projects from these practices, are you creating art or a way of life? Are your eco-projects a way of exploring individuals and their behaviors/reactions in society?

[TT] Yes, I’m blurring the boundary of art and life. Today, art is no longer a physical object. Even if it is an attractive art object, the artist might not even have his hand in the production of that object. I take a step  further by empowering the viewer to participate and design or work on the art itself. I became a facilitator and the participants is now also an artist and experience art like never before, where before, he or she is just a spectator and walk away and leave the art in the white cube gallery or museum. I believe, art should be able to share, create a chance to be rework, to reconfigure and enjoy by everyone and everywhere. Keep that in mind, I design my projects to be able to reincarnate in another location and another time.

When a participants join the project, he or she took a small leap of faith and an effort to make the project happen. That effort might be small, but that little effect is what we need to make the world a better place. In-directly the participants became the ambassador for the project and spread the green message and knowledge.

• After exploring your website and witnessing your art pieces first hand along with your gallery talk, I feel that your art transpires into many different levels as you intend it to. For example, the making of art is a shared experience, projects are “ephemeral and conceptual in nature”, and in addition to yourself, you teach others to give back to nature and practice conservation. Do you keep specific goals in mind when creating your projects or are you surprised (and pleased) with the various outcomes?

[TT] I do set a certain expectation and plan accordingly, trying to communicate the message and trying to make fun in the process. In contradiction, I do welcome mistakes, unexpected perspective, opposing ideas and results. I do not strive to create a masterpiece. It is only an exercise and always improving as the project progress and redone, and challenge in another venue or medium.

When I start a project, I try to investigate which is the best medium to express the message. I usually will have to research and learn the skill to equip me to execute the project. I prefer to work this way, in contrast to the traditional notion of an artists in skillful worker in a medium ie: drawing, painting or photography. By do so, I believe if I can learn the know-how and acquire the skill easily, everyone else should be able do it too, making everyone an artist.

• How long have you been teaching composting? Are the use of worms the only and best way to create an indoor compost?

[TT] I have been doing it for about 2 years. Vermi-compost is best technique for indoor composting. Well, at least it is the cheapest.

• Are step by step procedures available on your website?

[TT] Yes, do log on to www.tattfoo.com for step-by-step instruction.

• Will your future projects continue to include eco-conscious practices or something else altogether?

[TT] S.O.S. Sustainable. Organic. Stewardship. had taken precedence in my art practice, but I do explore other topics and subjects in my other projects.
My next project will be S.O.S. Mobile Classroom where I retrofit a cargo bike with educational materials, a mobile gardena, even a chicken coop. I’ll be a green monger and will be visiting fair, school and community events to educate and change the world one peddle at a time. Do come to fi:af: Crossing the Line Festival, 2010,  Farm City, September 12 at The Invisible Dog Gallery in Brooklyn.

• What can you tell us about next Thursday evening’s gallery talk?

[TT] If you are interested in growing your own food, or social justice, or the blurring the line of art and life, this is the time to have a discussion about these issues.
It will [be] a casual events, feels free to network bring postcard of your own efforts or shows, we [want] to get to know each other and sharing of knowledge and resources.

July 22, 7pm
Conversation about Urban Gardening with:

Derek Deckla, curator and activist
Andrew Casner, an urban farmer and artist
Daniel Bowman Simon, activist
Aki Baker, designer and activist

I want to thank Tattfoo for sharing his ecological knowledge on composting. His philosophy on blurring the lines between art and life are admirable, and something to think about with consideration of an artist’s audience. People want to be involved and understand either the artist’s message or the art itself, or both! Ananda Coomaraswamy used the Shakers as an example of art as a way of life or life as a way of art. No matter what a person does in life, if they focus and apply their energy into it (may it be a physician, a sculptor, a dancer, or a construction worker), what they produce and the act of producing are art.

Check out more of Tattfoo this Thursday and on his website (thorough info on his projects and plenty of photos).

LC

In & Out, Breathe or Pull?

Obviously both.

Kyoung Eun Kang’s performance at Arario Gallery last night was entrancing. How is it that the personality filled individual I saw toting around with simple black frames transform into a metamorphosing artist? Or could it be that they are one and the same at all times and her identity is something in constant motion?

I could only form my own conjectures because the audience and myself were left with no words from the artist, only the thought provoking and impressionable performance she laid before us. Upon reflection after the regurgitation of water upon sickly sweet cotton candy, my impression was of self-consumption and the constant transformation of her own identity, something which cannot be labeled or held stable.

Still, I could not help my curiosity and just HAD to ask her a few questions:

In your artist’s statement, your performances reflect the shifting state of your identity. Does the act of consuming and pulling out “cotton candy” from your stomach connect your shifting identity to your surrounding environment? (in relation to distributing “pieces of yourself” onto white papers)

• [KEK] I can say it is belly button rather than stomach. For me, belly button means a string which connects others and myself or generation to generation. I explore the body as transformative space as I traverse my inside and outside through the act of consuming, pulling out, swallowing, or scattering materials (cotton candy and plastic bag). At some point, materials and I assimilate each other. Specially, as I distribute the cotton candy onto the white paper and floor, I closely examine both the identity of myself and the material.

From the acts of drawing on the plastic bag and swallowing the bag, you are actively representing your identity, changing and denying any sort of former establishment. Do these performances represent your identity as an individual and artist, going to and from, combining and constantly changing?

• [KEK] As I trace my face onto the plastic bag wearing it, I present dual identity. It is weird moment. I feel the portrait is not myself but still belongs to me. I address the idea of fluid identity. For me the word “identity” is flexible and adoptable than rigid and fixed. Through my performance I represent elastic identity through my body.

I noticed there was no lecture or speech to accompany your pieces. Is it your intention that the audience walk away with their own impressions and thoughts? If their own opinions did not reflect your ideas of the performances, would this bother you or do you enjoy people forming their own ideas from your work?

• [KEK] My performance is open ended. I use my performance as language. After performance, an audience [member] told me that she felt complex emotions of life (love, hate, struggle, nurture, fear). She added it was interesting to see how I combine the element of humor with essential and serious issue of identity.

Above everything else, what is it that you want people to walk away with from your work?

• [KEK] My performance is not a lecture or book which has an answer. My performance is unpredictable and complex. Sometimes it is nonsense. I hope one day my audience reminds of my performance at a certain situation.

I can honestly say this was an interesting evening and I’m so glad I had the opportunity to meet with and speak to the artist Kyoung Eun Kang. Her performance is the first of its kind I have witnessed thus far, and I enjoyed it fully.

Arario Gallery hopes you can pay us a visit and take a look at her other performance piece, Happy Birthday, which reflects similar themes from her live performance Thursday night. The exhibition, Irrelevant, runs through August 6th.

For those who made it out...

THANKS, & hope you enjoyed!

-LC

Kyoung Eun Kang’s performance In & Out this Thursday!

Please join us this Thursday at 7pm for a performance by Kyoung Eun Kang titled In & Out. Performance begins at 7pm!

Thursday July 8, 2010

7pm

Arario Gallery

521 W. 25th St 2nd Fl

New York, NY 10001

Kyoung Eun Kang

In & Out

The plastic back and cotton candy traverse the inside and outside of the artist in an act of swallowing, pulling out, and eating by herself and by others. Through the performance, the artist presents her identity as a shifting and moving state that is never fixed or preestablished.