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Looking Around the Corner for Bas Jan Ader (video 1)

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The current name for this is: "Looking Around the Corner for Bas Jan Ader," playing on the words "around," "corner" and "for." The meaning of the word 'around' working as 'in the area of' and 'physically moving around something, ie. going around the pole or around the block etc;' 'for' as in 'looking for him because he disappeared, searching for him' and 'continuing the work for him, or continuing to explore what he worked with.' It involves me standing in the corner of a preferably white room (or gallery, though I haven't explored what connotation that might have), pressing myself as much as I can within it and actively trying to look both in the corner and 'around' it, as if I could look on one side of the corner (pressing to one of the perpendicular walls and looking along it and then switching to the other), searching for and into the seemingly unfathomable and endless depth of even the smallest and closest things. For him I believe this depth included the magnificent and mythical, or was the magnificent that was the expanse of the sea, the universe that is at once small and infinite, the world of atoms. It was this abyss, I think, that he wanted to cross when he attempted to sail his boat across the atlantic, back to the Netherlands, back to what one could read as 'home' or another identity he wanted to be accepted into or see himself as (coming from LA, a city of assumed personalities). And maybe he thought that there was in fact another side to find, that we can cross the abyss that supposedly separates individuals and our experiences from other individuals, that we can find a way to fully communicate and connect with as well as understand others. Could the abyss, the sea, the expanse, the unknowable, in fact be as complex and incommunicable as our selves? It seems that Ader looked into this expanse with fear, anxiety and desperation, and I can only hope that he came to peace with it on the sea. What I feel ready to do is to address similar concepts, but without being so overwrought, overwhelmed and saddened by them, accepting this "abyss", expanse, as our selves, not something that holds us apart. I have intentionally turned his horizon line, the unattainable boundary to be crossed, on its side; the vertical in my mind implies presence more so than the horizontal line in that we can face, confront and challenge this line with real dialogue and not chase an absent end. I do not assume that I will discover anything concrete, nor do I aim to form conclusions, but I have decided not to get lost in a melancholic desire, but to engage with my own curiosity about distance, relationships, discourse and presence.
Автор: Emily Newman Дата: 2010-03-31
megan, can you explain how these videos should be exhibited? with the other two in your studio? all together on three channels? would there be some additional text? what kind of feedback would you like on these? would you like a 'dry read'--i could just respond without you telling me anything at all extra. but it would be good to first know from you how they are intended to be shown.
Автор: Emily Newman Дата: 2010-03-31
hey megan, sorry, now i see your text!!
can i respond to this in particular?---
"It involves me standing in the corner of a preferably white room (or gallery, though I haven't explored what connotation that might have), pressing myself as much as I can within it and actively trying to look both in the corner and 'around' it, as if I could look on one side of the corner..."
is this a sketch for a performance? or are the videos real videos?
from what i see now--- what i see when i look at your video is a bum (!) coming closer and getting farther away from the camera, in a nice pink dress...and hands doing something weird in the corner of a room, but not looking, more like pushing or feeling because i can't see your eyes maybe. the other two videos--one is of you doing an exotic dance in the corner (!) and one is an examination of the corner with you removed, though it has a POV feeling.....
what you write about is a quite different thing, it seems to me. you are writing about YOUR INNER experience, what your motivations are for doing this, what you are thinking, what you though before, what you may have seen before, but this is not communicated by the external motions or presentation of your body as i see it.
the piece, apart from the euphoria and richness of the text, is really dry and absurd like an early nauman!
looking 'around a corner' is really funny, i didn't get it before i read your text because i think i was too distracted by your nice pink dress (...) to think about Looking, the focus of the video is not your eyes, as i said. lately i've been thinking about the idea of how when an artist takes materials that interest him and in turn processes them into his art. he can't just show the materials--that's not his work. he can't just show himself performing the process, because without us understanding what the materials are, it won't make sense, and to only show the processed materials...might not work because they might have become so processed that they are a pile of unidentifiable mush bearing no semblance to the materials.......see what i mean? what's really interesting here is your TEXT. i guess if it needs to be an artwork then you need to somehow trick the viewer into coming up with that text himself? how can you position materials around the viewer to make these ideas line up in his head?
sorry, is this horrible??
Автор: Megan Snowe Дата: 2010-04-01
Thank you thank you!!
I have not thought about this for a while nor have a watched the videos for some months, but I most definitely understand what you are saying. I in no way considered this complete. If anything it was a trial, a sketch, completely reliant on the text. Thanks to your comment I want to work more with this! More to come!
Автор: Jan Vormann Дата: 2010-04-01
Hi Megan!

Standing in corners, at least in class-rooms of German-middle-schools, used to be a punishment for kids. Really kind of old-school punishment. People still do it nowadays, from what I heard. Sometimes they had to wear a cone-hat and ears of a donkey. - absurd punishment, right? Maybe you also refer to this, but I haven´t read it in the description. I might have overread it in your text, which really is quite complex and refers a lot to things I never would have associated with or seen in the video itself because I didn´t know about it.

If I saw you in an art-space performing this, I would definitely think you were trying to hide or that it was about something associated with punishment/self punishment or embarassement and hiding. But this would pretty much depend on your facial expression.

"Being cornered", isn´t that an english expression? This makes me think about a wild dog fighting for his freedom "being cornered" by the dog catcher.

I could imagine this quite well at an art opening in Berlin or better: New York, where sometimes very very very important people (self proclaimed VVVIP ´s) come up to you and give you their cards, although it feels like there really is nothing to talk about with them, and it then feels awkward because it makes the gallerist sooo happy while all you want to do is hide in a corner until this part of art (at least art-business) is over.

Note to myself:
I should go see a psychiatrist to talk about all these associations of punishment and hiding in corners and question my gallerist about the art-market.
:) haha, just kidding.

Cheers,
Jan