I W a n t T o B e I n s i d e Y o u

Visualize the feeling that I have when I am in the bed with my boyfriend. I can’t get enough of him that sometimes I want to be inside him.

This was the start of a long duration project.

I took some of his clothes and made a full body costume, like a second skin of him

 

sketch;

 

 

the costume that I made;

 

 

the video/performance;

 

S p a c e A n a l y s i s

We asked to go and analyse a gallery space and a non-gallery space within the procedure of finding a place to do the offsite show. With my group we went at Matt’s Gallery . It was a really interesting space.

We knocked the door of the gallery and a man opened us with a phone on his hand. He was doing Skype with a man from Tokyo, as I heard. Welcomed us and said to us and to the man on his phone that we are the first people coming today. We entered to a very small room/apartment/office. Passed through a narrow, short corridor. To our right was a fake wooden wall and a door to the corner. Straight ahead was an office, a small bookcase with some books and another man sitting on the chair of the office. To our left was a room that the man that was talking with he guy from Tokyo went to have some privacy. The fake, wooden walls continued also opposite to the office. It had the shape of a cube. As we entered inside the wooden walls (this was the gallery) We had to stand there for a bit to consider the size of this room. It was so small but also so big after a while because of the color of the walls, white, and the lighting. We didn’t really gave attention to the artwork. We went there to analyse the space. 3x3x3 metres. A cube inside another cube. A space inside another space.

notes from the visit:

 

The space that we thought of, for the non-gallery space, was the Greenwich foot tunnel.

d r e a m s

this is what I see when I am                                      this is what I see when I am

lying down to my bed from                                         lying down to my bed from

one side                                                                                                           the other side

           

  • unconsciousness
  • past-traumatic healing procedure through dreaming
  • control our dreams
  • control our mind
  • meditation
  • do art through your dreams

 

 

parts from books that I read that are related:

 

Carl Jung, Man and his Symbols, 1964

 

         Sigmund Freud, Beyond the pleasure principle, 1922

 

a work that is related:

Joachim Koester – “In the Face of Overwhelming Forces”

  • a hypnogogic headphone audio work installed with padded beds and fleeced blankets
  • intended to soften and stupefy the visitor
  • the viewer continues the rest of the exhibition feeling buoyant
  • somewhere between awake and sleeping
  • somewhere between the limits of the body and the space around it

 

B l u r p o r t r a i t s + t e x t

I wrote this text through the practise workshop that I took part, Playtesting Utopia. I believe that it connects with the project of the blur portraits.

 

+

 

 

  • what is the main subject of the photo?
  • a photo is a memory / what I want to remember?
  • is this not correctly shot?
  • we are used to seeing specific things

I tried to continue the project by finding blur portraits of random people through social media, but the work is as it is. I cannot proceed with that or add anything. I have to work with it as it is. It happened accidentally and this is the beauty of this piece. If I tried to change it, it will loose its value.

A N I S H K A P O O R

anishkapoor.com

“One of the things I am interested in is a non-object. An objects which is not. ”

Metaphysical site-specific works, he manipulates form and the perception of space. He creates an environment within which people themselves can consider meaning and the viewer becomes part of the sculpture. Kapoor repeatedly returns to the notion of origin. His interest is in infinity, void, and endlessness

 

J A M E S T U R R E L L

“My work is more about your seeing than it is about my seeing, although it is a product of my seeing. I’m also interested in the sense of presence of space; that is space where you feel a presence, almost an entity — that physical feeling and power that space can give.”

“My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought.”

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