Thursday, December 23, 2010


These are some useful suggestions for making a document you suggested: a running image bank and the animated version where several people can work on together. I am on the road and will add more stories soon. What if someone starts one and others continue? In images and image/words. We all have different ways of doing things, different repetitive habits, find and grow these and bring them together...

Friday, December 17, 2010

First collection

needs for the continuation of the project....

I am needing a more concrete outcome to my motivations for continuing with this project. Speaking from my own corner I want to further engage with the more salient aspects of the collaborative process in considering the artifact or object that occurs most commonly with art production.
Please tell me differently.

'Please tell me differently' is for me a beginning of sorts into considering the disconnect with an image rich environment and a labored constructed story, that is painting.

While I am looking more towards this here is a link to the best 450 open-source collaboration sans high end programs, that shows just what can be done with an idea.

Tuesday, December 14, 2010

Three picture story

I was listening to a comic artist on arte yesterday who said something like: as soon as you have two pictures the narration begins since one necessarily refers the one to the other.

(and yes, sometimes one image is absolutely enough to tell a story or there is already the story in the image.) somehow for fun i took three of your photos, you had posted earlier, and wrote this little story - which was only for fun and for myself.

a couple is sitting in the streets of Ourna when it occurs to the woman she totally has forgotten that she was going to take a flight to Etschu tonight. She kisses her lover goodbye, jumps into her white sports car and drives like a drunk beaver towards the airport. people, who are standing at the edge of the road, twist and spin just because of viewing her passing by. left right right right left straight straight left straight - she makes it and catches her flight. the reason for going to Etschu is the same as every year, which does not make it any less important. she needs to get a marvellous Christmas tree. since they do not have any fir trees in Ourna, she has to fly to Etschu to get one. and since everybody in Ourna does the same, and the woman is fully aware of this, she always goes to Etschu by the end of march, to make sure that she really gets the best tree and not only an ugly, crooked, little left-over, not a shadow of a dead piece of wood but the shiniest, freshest Christmas tree, one could imagine.

Monday, December 13, 2010

A story from 'here' you have one?

(walking along the 'Pineapple Track' on Sunday afternoon...)

A story: High above the small settlement of Dunedin by the sea the people cut down the forest and planted fence posts instead. Because there was no fruit left to eat from the trees they ate pineapples from cans and put the cans on top of the posts along the way... that is why the path is called 'Pineapple Track', although now there are no pineapple cans nor posts...

Has anyone got a picture of a pineapple/can on a post... and maybe another story...?

Wednesday, December 8, 2010

Constant wave action...Dunedin, 5/12/10

With the image up top I combined and manipulated the previous image of Michael's horse in the night sky (post 1/12/10) and the above wave photo taken of Boulder beach using Photoshop.

Here is some literature by Claire Colebro0k on Deleuze's ideas of the subject as plane of experience, not author:
"Transcendental empiricism frees thought of any ultimate metaphysical foundation by insisting that far from being some actual ground, life is a virtual multiplicity, not of things and agents but contemplations and contractions, events and responses. It is not that there are persons or beings who then contemplate the world; there are contemplations that are passive and impersonal. These contemplations create distinct human bodies and organisms.
This means that there is not a world (actual) that is then represented in images (virtual) by the privileged mind of man (the subject). Life is just this actual-virtual interaction of imaging: each flow of life becomes other in response to what it is not. The anticipation goes beyond what is actual, but also produces a new actual. The image is neither actual nor virtual but the interval that brings actuality out of the virtual..."
She concludes, "There are experiences; these are connected to form images of bodies; the body that contemplates those connections mistakenly sees itself as the author or ground of those connections. This is the illusion of the transcendent subject, the subject as plane within which experience takes place."
(Claire Colebrook, Gilles Deleuze, London:Routledge, pp 87-88)

Tuesday, December 7, 2010

The Years End

As we fast approach the end of 2010 I must ask where these imaginings are going? In which direction are we all traveling. I can see a wonderful collection of responses and proposals in photograph, a sense of personal imaginings in the melee of supposed internationalization and collaboration.

The collaborations have been desperate, and rightly so as we are all essentially working from personal motivations and positions.

The beginning basis for these connections was to consider the making of the artwork and the role that authorship plays when engaging with histories (personal and shared), images (analogue and digital, real and constructed), Synthetics and naturals, sensation and concept.

Have we begun to engage in these things? or has the project organically shifted? Is the natural course still working or do the parameters need to be 'tightened' wit a 'kind' of outcome envisaged?

Just some thoughts.


Wednesday, December 1, 2010

Hands and Horses

collaborative project

Today I attended a presentation by Simon McIntyre where he talked about a collaborative series of 4 site specific exhibitions run over 3 years by Monique Redmond (AUT) and himself, called 'Mapped'. It is an interesting case of sculpture, photography and painting interacting. On one occasion they had a series of A4 photographs and paintings connected to them, interspersed, running all around a room. Within they placed objects.

Some sites about Simon McIntyre and Monique Redmond