2008. február 26., kedd

Urban Labels

Our thinking has moved in another new direction. We are now looking at the idea of the urban gallery in a 'found' context. By titling every day scenes they are put in an artistic context and given significance. This has included creating puns or enticing a line of thought through loaded, yet ambiguous words. The 'significance' of labeling a scene invites the public to become defamiliarised with their environment, to remove themselves from a scene and become reacquainted with the city. Being visitors in Budapest gives us a different outlook on the city and there is much we notice that perhaps the residents takes for granted. We have also taken photographs bought from the Ecseri Piac and paired them as diptychs to invite a narrative or relationship. This effect is furthered by leading and loaded language applied at the scene.

Art in a gallery context is permanent. It is an asset, continually sold, presented and represented in a bleached environment. Our project is temporary, almost disposable and challenges the price tags put on art in galleries. It means a piece can only be viewed for a limited amount of time before it is eroded, destroyed, vandalised, stolen etc. It also means that it can be added to and interacted with by the general public. However, this freedom and open environment can also be the downfall of a piece, for example when we were sticking the words 'The Apology' to the ground, our original composition was destroyed as it relied on the presence of a cart which was removed by the shopkeeper because it was closing time. We therefore had to adapt and change our original idea.

The main difference between what we are doing now and how we were previously working is that our connections between visual imagery and words is more instantaneous. Whereas before we were taking photographs and adding language to them later upon revision, now we are applying language (written and visual) to the environment as we find it. This is a much more spontaneous way of working and means that we are more alert to our surroundings and our connections between word and image are based more on first impressions. This means we don't always necessarily have our own interpretation on the 'meaning' of a piece. The weight of our work is in the ambiguity of the labels and the meaning is created by the viewer. Ultimately this can make the piece more personal (see Propositions entry ).

The rest of today's images can be found on Flickr.

2 megjegyzés:

shaun írta...

Hi Angus and Laura

The proposition that you articulate so well, under the title 'Urban Labels' reflects my previous post in that it alludes to the breeding of unfamiliarity. Like you say, the sights, the architecture and street furniture are all part of the everyday - and again, when I talk about the notion of the blindness of familiarity - these things disappear into the unconscious. It is not until these things are altered, or until you intervene with it that it come forward into consciousness. By altering it you have made it different, you have made it unfamiliar (like you say) and so people are compelled to readdress it, to make sense of it. So yes I agree, through this process they are also compelled to reassess their relationship with their surroundings. You are new to the place, every view is new to you, and so you are already doing this.
It is much more preferable to place the text in context, rather then superimposing them into the photograph, it makes it much more part of the image, much more part of the event. It is interesting what you are saying about the notion of the work, sited 'in the street.' Yes you have removed it from the context of the gallery, that you have positioned it in a more precarious context. But it is a little more complicated than that . You might like to look at Brian o'Doherty's 'Notes on the Inside of the White Cube.' (http://www.societyofcontrol.com/whitecube/insidewc.htm)
Think about the position of the photograph. Just what is it?

Where are these photographs placed?

Are they merely documentation, or are they works in their own right? You might consider further, the relationship between the event and the photograph.

That said the photographs are starting to look very interesting, although, for some, you need to take more care on the framing of the image; think what the focus of the image is. In some of the images , the text is a little difficult to read.

shaun írta...


You might also further consider the relationship between documentation and performance - for starters look at http://ahds.ac.uk/creating/guides/new-media-tools/wilkie.htm