A few days later, I photograph the objects, individually, resting on a sheet of paper, and a new work is born:
The objects are currently on their way to England, by sea...
Tuesday 23 October 2007
MUSEOGRAPHIES IN BANGALORE
During a residency at Srishti, I visit CITY MARKET, where I buy four used luminous plastic bicycle seats, from a street seller; with some ulterior motives:
A few days later, I photograph the objects, individually, resting on a sheet of paper, and a new work is born:
The objects are currently on their way to England, by sea...
A few days later, I photograph the objects, individually, resting on a sheet of paper, and a new work is born:
The objects are currently on their way to England, by sea...
'HISTOIRES...'-'MUSEOGRAPHIES':
FROM PHOTOGRAPHIC SPACE TO MUSEUM SPACE
This new series, 'MUSEO-GRAPHIES', was developed during an artist residency at KASHI. Unlike in my 'HISTOIRES...' series, which stages theatrical stituations, here, the organizational principles present alternative CURATORIAL principles through the medium and language of PHOTOGRAPHY.
Challenging the work of museums, it expresses different concerns,and does not present the objects solely as AESTHETIC or as ANTHROPOLOGICAL OBJECTS, but as OBJECTS IN DIALOGUE, and IN PERFORMANCE.
The owner of a projected museum asks me whether I would be interested in curating his collections according to the alternative and more modern principles displayed in my photographic work.
An unexpected surprise, but a logical and visionary move on his part.
We visit the warehouse he recently purchased to house his collections, and discuss ways of adapting the space for exhibition use. My view is that we should preserve the architectural qualities of the warehouse and focus first on making the building structutally sound and, then on creating the best conditions for displaying the works. Structural consolidation of the building, waterproofing, ventilation, security, flooring, lighting, space for amenities (office + café-restaurant + WC + shop + studio), scenography, communication, etc. are some of the issues we discuss.
(Click on the image to enlarge)
Challenging the work of museums, it expresses different concerns,and does not present the objects solely as AESTHETIC or as ANTHROPOLOGICAL OBJECTS, but as OBJECTS IN DIALOGUE, and IN PERFORMANCE.
The owner of a projected museum asks me whether I would be interested in curating his collections according to the alternative and more modern principles displayed in my photographic work.
An unexpected surprise, but a logical and visionary move on his part.
We visit the warehouse he recently purchased to house his collections, and discuss ways of adapting the space for exhibition use. My view is that we should preserve the architectural qualities of the warehouse and focus first on making the building structutally sound and, then on creating the best conditions for displaying the works. Structural consolidation of the building, waterproofing, ventilation, security, flooring, lighting, space for amenities (office + café-restaurant + WC + shop + studio), scenography, communication, etc. are some of the issues we discuss.
(Click on the image to enlarge)
MORE MASKS...
During the last few days of the residency, I secure permission to photograph objects in the store room above a shop; near the synagogue. This enables me to spend more time taking pictures, and to reflect about what I am doing, without disturbing customers.
It is strange to be surrounded by all these objects saved from destruction by the Antiques trade and by the passion of the owner, who confides his intention to create a museum.
Caracteristically, the tribal masks I wish to photograph are no longer for sale.
This juxtapposition of objects from different faiths evokes the ancient Cabinet of Curiosities... and the Futurists remarks about 'Museums: Cemeteries!...'.
I hope to use these masks in a new 'MUSEO-GRAPHIES' series...
It is strange to be surrounded by all these objects saved from destruction by the Antiques trade and by the passion of the owner, who confides his intention to create a museum.
Caracteristically, the tribal masks I wish to photograph are no longer for sale.
This juxtapposition of objects from different faiths evokes the ancient Cabinet of Curiosities... and the Futurists remarks about 'Museums: Cemeteries!...'.
I hope to use these masks in a new 'MUSEO-GRAPHIES' series...
TOWARDS A PHOTOGRAPHIC ARCHIVE OF OBJECTS: FROM 'HISTOIRES...' TO MUSEO-GRAPHIES
I return to the same warehouse, where I photograph a series of MASKS: tribal, an XVIIth century carved face of a saint (Indo-Portughese) from Goa, and a Hindu temple mask, painted red...
In the evening, at the studio, I combine them in groups of two, three, four and five.
What comes out of this, is that the works in the new series may take the form of the DYPTYCH, TRYPTYCH or POLYPTYCH...
The sessions culminates in a composition in which four masks from three different cultures—tribal, Christian and Hindu—are combined in a way suggestive of museum display.
I decide to call the new series 'Museo-graphies'.
Here, unlike in the first 'Histoires...' series, the objects are no longer set like actors on a stage, but as objects presented in an individual showcase; except that here the juxtapposition is more openly narrative than is the case in museums. Rather than being presented as artefacts from different culture groups, the objects are given a voice and become silent 'talking heads'. Whereas the two tribal masks and the Christan head sustain our gaze, the red Hindu mask directs his gaze at the other faces. The resut is a multi-directional network of gazes, which implicates viewers in this circularity.
(Click on image to enlarge)
It looks as if this may be the outcome of this residency, but I am not quite sure...
Could this be a model for alternative museum display?
In the evening, at the studio, I combine them in groups of two, three, four and five.
What comes out of this, is that the works in the new series may take the form of the DYPTYCH, TRYPTYCH or POLYPTYCH...
The sessions culminates in a composition in which four masks from three different cultures—tribal, Christian and Hindu—are combined in a way suggestive of museum display.
I decide to call the new series 'Museo-graphies'.
Here, unlike in the first 'Histoires...' series, the objects are no longer set like actors on a stage, but as objects presented in an individual showcase; except that here the juxtapposition is more openly narrative than is the case in museums. Rather than being presented as artefacts from different culture groups, the objects are given a voice and become silent 'talking heads'. Whereas the two tribal masks and the Christan head sustain our gaze, the red Hindu mask directs his gaze at the other faces. The resut is a multi-directional network of gazes, which implicates viewers in this circularity.
(Click on image to enlarge)
It looks as if this may be the outcome of this residency, but I am not quite sure...
Could this be a model for alternative museum display?
Monday 22 October 2007
IN SEARCH OF 'HISTOIRES...' ABOUT INDIA
Unable to stage and photograph objects in pairs, in situ (for logistical reasons and not to disrupt the business), I photograph individual objects, in the back alley of Antique shops and warehouses, using vertical natural light (i.e. when the sun is at its hottest!); accepting that I shall have to pair the objects I photograph at a later date.
I spend on session, at Madonna Antiques', taking a picture of the two monkeys that the owner has dug up especially for me, after I had shown him a postcard of my 'Good Day Mr Darwin' picture, which features a ceramic model of Darwin's proverbial ape.
These monkeys will become the stage partners to the kerosene iron in a second 'Histoires...' in this INDIA SERIES, making a connection with the BESTIAIRE series, which I have begun in England.
It is so hot in the sun (this is the hottest season) that after a few minutes the metal objects I photograph ('kindi', 'wurpa', etc.)are too hot to pick up.
I shelter under a black umbrella, which just about enables me to see the image on the display screen. My cloths are dripping wet and I drink two litres of water in two hours.
The next photo session, after the iron, is spent taking photographs in the back alley of one of the antique warehouses. It proves productive, as, besides providing some potentially usable objects, it takes me in a different artistic direction.
In the evening, at the studio, I try a series of combinations between two, three and four objects, in different permutations.
One new 'Histoires...' comes out of this session, Histoires... (Kindi.Hands), which, by the choice of objects—a bronze vessel traditionally used for ablutions ('kindi') and a painted hand, salvaged from a pulled down Christian church—is suggestive of the style-life.
ARTIST RESIDENCY AT KASHI ART GALLERY, KOCHIN, KERALA: APRIL-MAY 2007
Having secured the permission of three antique dealers to photograph objects from their collections, I return to Kochin in April to work on the 'HISTOIRES...' series.
On my second day, I go to Ernaculam, where I photograph shoes, on a cobbler's stall, framing them with part of a poster advertising a political demonstration...
Later on, in a shop, I buy a few wooden toys, which get wrapped up in brown paper parcels tied with strings.
Back at the studio, I open one of the parcels and am on for a surprised 'hatching' of two figurines: a 'loop' man and a bird: an accidental fable? which I photograph...
To this day (Oct. 2007), the other parcels are still awaiting opening...
I spend the following days just walking around the antique shops and the warehouses of Jew Town, in Kochin, inhibited by the amount of fakes and copies I see...
Seeing a kerosene 'iron', in an antiques shop—displayed alongside antiques objects, on a glass shelf—is intriguing. Should I be worried that this is the sole objects that attracts my attention among a plethora of Antiques emporia...
I photograph it on its own, departing from my previous practice of staging objects before photographing them.
On my second day, I go to Ernaculam, where I photograph shoes, on a cobbler's stall, framing them with part of a poster advertising a political demonstration...
Later on, in a shop, I buy a few wooden toys, which get wrapped up in brown paper parcels tied with strings.
Back at the studio, I open one of the parcels and am on for a surprised 'hatching' of two figurines: a 'loop' man and a bird: an accidental fable? which I photograph...
To this day (Oct. 2007), the other parcels are still awaiting opening...
I spend the following days just walking around the antique shops and the warehouses of Jew Town, in Kochin, inhibited by the amount of fakes and copies I see...
Seeing a kerosene 'iron', in an antiques shop—displayed alongside antiques objects, on a glass shelf—is intriguing. Should I be worried that this is the sole objects that attracts my attention among a plethora of Antiques emporia...
I photograph it on its own, departing from my previous practice of staging objects before photographing them.
'HISTOIRES...' ON THE MOVE
PONDICHERRY proves a fruitful destination; not just to explore the French connection, but to collect material for (almost) two new works; with the help of a small votive clay figurine of Hanemann bought in Kochin.
Below: a view of the shop with the objects wrapped up:
and a new work:
The series unfolds with two 'encounters': between a wooden figurine of a Jesuit, from the XVIIth century (painted black) and a painted clay figurine of Hanemann, from Kerala, and a fable involving the polychrome clay figurines of a peacock and a musician…
Below: a view of the shop with the objects wrapped up:
and a new work:
The series unfolds with two 'encounters': between a wooden figurine of a Jesuit, from the XVIIth century (painted black) and a painted clay figurine of Hanemann, from Kerala, and a fable involving the polychrome clay figurines of a peacock and a musician…
NEW (INDIA) SERIES: NEW FORMAT
The size and shape of some of the objects suggests the DYPTYCH format,
which, alongside the rectangle, introduced for 'Histoires...'#33 (Blow Torch.Ballerina), 2006, extends the way of spatializing the objects, beyond a single square:
(Click on image to enlarge)
which, alongside the rectangle, introduced for 'Histoires...'#33 (Blow Torch.Ballerina), 2006, extends the way of spatializing the objects, beyond a single square:
(Click on image to enlarge)
A PRODUCTIVE RESIDENCY IN BANGALORE: 2006
The opportunity of a teaching residency at SRISHTI college, in Bangalore, enables me to gain a deeper knowledge of India and to develop an INDIA SERIES of 'HISTOIRES/(HI)STORIES...'.
Whereas in the first series of 'HISTOIRES...', the focus was on exploring the basis of inter-cultural conflicts between nations and civilizations, the idea, here, is to explore conflicts and contradictions between different cultural strands within India.
The series begins with the encounter between a plastic BUDDHA—bought at a flee market, in Bangalore (subtly tinted and reminiscent of acid-etched crystal, and for a time used as an ornament in the flat where I am living:
and a heavy, opaque brass effigy of the Hindu Bull deity, 'NANDI':
Quite an emblematic and topical image, given the once-upon-a-time spread of Buddhism in India, and its comparative disappearance; especially when seen against the recent attempts by right-wing parties to define INDIANNESS through the exclusive values and tradition of HINDUISM...
Whereas in the first series of 'HISTOIRES...', the focus was on exploring the basis of inter-cultural conflicts between nations and civilizations, the idea, here, is to explore conflicts and contradictions between different cultural strands within India.
The series begins with the encounter between a plastic BUDDHA—bought at a flee market, in Bangalore (subtly tinted and reminiscent of acid-etched crystal, and for a time used as an ornament in the flat where I am living:
and a heavy, opaque brass effigy of the Hindu Bull deity, 'NANDI':
Quite an emblematic and topical image, given the once-upon-a-time spread of Buddhism in India, and its comparative disappearance; especially when seen against the recent attempts by right-wing parties to define INDIANNESS through the exclusive values and tradition of HINDUISM...
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