Εμφάνιση αναρτήσεων με ετικέτα spring 2020. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα spring 2020. Εμφάνιση όλων των αναρτήσεων
ERASMUS STUDENTS_SPRING SEMESTER 2020-21
Collage, photomontage, assemblage: present absence
“As a system, collage inaugurates a play of differences which is both about and sustained by an absent origin”.
Rosalind Krauss
The course in this semester will focus on the practices of collage and photomontage as mediums, genres, techniques but most importantly tactics and theoretical models that cross the fields of the visual arts, undermine traditional representational methods, anticipate digital representations and are clearly associated with an interrogation of the nature of representation and reality.
Collage, initially a by-product of modernity, functioned as a catalyst in modern and contemporary art. Robert Motherwell claimed that "collage is the greatest innovation of the 20th century", and Juhani Pallasmaa that "the world is a collage".
Collage is about encounters, about bringing the ideas into conversation with one another. It existed long ago before its “invention” by Braque and Picasso, in folk art and in various crafts. In its twentieth-century manifestation, collage was about meaningful encounters and juxtapositions, about displacing, disrupting and deconstructing, whilst simultaneously representing the possibility of dialogue and synthesis between heterogeneous elements. Consciously crafted juxtapositional configurations and an objection to cultural hierarchies, to conventions of representation, to the binary opposites of art and life and to the idea of authorship. As Aragon asserted, “collage called into question personality, talent, artistic property”. Through the discussion of the artists listed below, we will see history of collage and photomontage, focusing on the ways it was used not only as a technical procedure, medium or genre but most importantly as an activity, as a state of mind and as tactics.
The students will work in groups and are expected to produce a number of two-dimensional artworks (max. 70x70 cm), using the techniques and tactics of collage and photomontage.
By the end of April, students are also expected to present publicly their research on three artists from the list.
-Jennifer A.E. Shields, Collage and architecture, Routledge, 2014
1910-1950
-PABLO PICASSO (1881-1973), papiers collés
-GEORGE BRAQUES (1882-1963) papiers collés
-HENRI MATISSE ( (1869-1954) cut-outs
-GEORGE BRAQUES (1882-1963) papiers collés
-HENRI MATISSE ( (1869-1954) cut-outs
-HANNAH HOCH (1889-1978)
-KURT SCHWITTERS ( (1887-1948) Merz pictures
-RAUL HAUSMANN (1886-1971)
-GUSTAV KLUTSIS (1895-1938)
-ERWIN BLUEMENFELD (1897-1969)
-ALEXANDER RODCHENKO (1891-1956)
-PAUL CITROEN (1896-1983)
-HANS APR (1886-1966)
-YVES TANGUY (1900-1955) papiers decoupés, cadavre exquis
-MAN RAY (1890-1976) photograms, rayographs, multiple exposures, photomontages
-MAX ERNST (1891-1976) La femme 100 tetes, Une semaine de bonté
-RICHARD HUELSENBECK (1892-1974)
-RICHARD HUELSENBECK (1892-1974)
-VALENTINE PENROSE (1898-1978)
-ROLAND PENROSE (1900-1984)
-LOUISE NEVELSON (1899-1988)
-JOSEPH CORNELL (1903-1972)
1950-2000
- ROBERT MOTHERWELL (1915-1991)
-JIRI KOLAR (1914-2002)
-NANCY SPERO (1926-2009)
-EDUARDO PAOLLOZI (1924-2005)
-JAMES ROSENQUIST (1933-2017)
-ROBERT RAUCHENBERG (1925-2008)
-DAVID HOCKNEY (1937-) photoworks, "joints"
-JASPER JONES (1930-)
-ROSALYN DREXLER (1926-)
-GUY DEBORD (1931-1994) +ASGER YORN (1914-1973) (Fin de Copenhague, Memoirs)
-JAMES ROSENQUIST (1933-2017)
- RICHARD HAMILTON (1922-2011)
-MARTHA ROSLER (1943-)
-MARI MAHR (1941-) Photomontages and photo-collages
-ANNEGRETTE SOLTAU (1946-)
-PENNY SLINGER (1947-)
-JOHN STEZAKER (1949-)
-WOODY VASULKA (1937-2019) The art of memory
-ΧΡΥΣΑ ΡΩΜΑΝΟΥ (1931-2006)
-ΧΡΥΣΑ ΡΩΜΑΝΟΥ (1931-2006)
2000-2020
-LORNA SIMPSON (1960-)
-LANCE LETCHER (1962-)
-ASSUME VIVID ASTRO FOCUS
-JOSEPHINE MECKSEPER (1964-)
-THOMAS HIRSCHORN (1957-)
-WANGESHI MUTU (1972-)
-JESSE TREACE
-MARK BRADFORD (1961-)
-DAVID SALLE (1952-)
-NINA YUEN (1981-)
-JESSE DRAXLER (1983-)
-CATRIEN DE BLAWER (1969-)
-TAGEN DONOVAN
-ANTON WALKER
-LILAH FOWLER (1981-)
-JOE WEBB (1976-)
-TONY KENNEDY (Badgewearer) (1966-)
-JULIE WEBER
-BEN LEWIS GILLES (1992-)
-DELILAH JONES
-SARAH EISENLOHR (1988-)
-MICHAEL TUNK (1984-)
-BRIAN OLSEN (1975-)
-ANTHONY ZINONOS
-YUMICO UTSU (1978-)
-ΛΕΝΑ ΑΘΑΝΑΣΟΠΟΥΛΟΥ (1979-)
-ΧΑΡΙΣ ΕΠΑΜΕΙΝΩΝΔΑ (1980-)architects
-UGO LA PIETRA
-RICHARD MEIER
-BERNHARD HOESLI
-RICHARD MEIER
-BERNHARD HOESLI
-PETER AND ALISON SMITHSON
-GORDON MATTA-CLARK
-GORDON MATTA-CLARK
-ARCHIGRAM
-ENRICO MIRAILLES
-SUPERSTUDIO
-ARCHIZOOM
-REM KOOLHAAS
-BERNARD TSCHUMI
-OMA
-FELD STUDIO
-FELD STUDIO
-AREA
Bibliography
- Brandon Taylor, Collage, The Making of Modern art, Thames and Hudson, 2006
- Brandon Taylor, Collage, The Making of Modern art, Thames and Hudson, 2006
-Freya Gowrley, Yuval Etgar, Cut and Paste, 400 years of Collage, National Galleries of Scotland, 2019
-Peter Burger, Theory of the avant-garde, 1974 (σελ. 153-164)-Jennifer A.E. Shields, Collage and architecture, Routledge, 2014
-Colin Rowe, Fred Koetter, Collage city, 1978
-Walter Benjamin, One-way street, 1928
COLLAGE AS TACTICS (Spring semester 2019-20)
THE ESSENTIAL IN THE COLLAGE ACTIVITY LIES NOT IN THE NARRATIVE PORTRAYED BY THE IMAGES USED, BUT IN THE WAY THESE ARE DISRUPTED WHEN THEY ARE CUT, PLACED SIDE BY SIDE OR PILED ONE ON TOP OF ANOTHER. (see and compare the two paradigms below, in relation to this idea)
1. John Stezaker:
"Photo-collage, is about opening up the space between images, liberating them from their instrumental use. It is a way of trying to reveal something of the abyss or the hidden void within this continuum of image culture of the montage of everyday life. I see photo-collage therefore as a way of encountering the image as empty."
https://theapproach.co.uk/artists/john-stezaker/images/
https://www.saatchigallery.com/artists/john_stezaker.htm
http://www.artnet.com/artists/john-stezaker/
2. Thomas Hirschhorn :
Pixel-Collage is a new series of collages. With these works, I want to integrate the growing phenomena of facelessness in pictures reproduced today. What interests me more specifically in the aesthetic of facelessness is pixelation as its formal embodiment. I want to integrate into my work the increasing use of pixelation.
“Pixelation” has become more and more common, there is an increasing use of pixels or blurring in the media. This phenomenon interests me because it seems that, in order to be authentic, a picture needs to be pixelated or partly pixelated. Pixelating – or blurring has taken over the role of authenticity. A pixelated picture must surely be authentic if it has unacceptable areas which are concealed. The acceptable is not-pixelated.
It is interesting to observe that the use of pixels follows no common law at all. Sometimes parts of pictures are pixelated without logic or reason, as a proof that apparently somebody is taking care, has the overlook, knows and decides what is acceptable and what is not. Partly pixelated pictures look even more authentic and are accepted as such by viewers. It therefore seems clear that pixels stand for authentication: Authentication through authority. And, in our chaotic, incommensurable, contradictory and complex world there is a huge demand for authority. Pixels deliver an aesthetic to this demand for authority.
The justification for pixelation or blurring is either to “protect the viewer”, to keep something in the picture “protected”, or to “protect” whatever information is supposed to appear in the picture. I don’t accept anything “protective” and I don’t think anyone – today – can take over such a thing as authority of protection. Using pixels obviously always comes from an authoritarian gesture. Therefore using pixels creates confusion, frustration – and willingly or not – makes things more ‘hierarchic’, and obviously the act of pixelation is definitely not based on emancipation or emancipating the viewer. Rather, “Pixelation” is clearly used as propaganda, it infantilizes or manipulates the viewer. Furthermore, pixelating a part of a picture might imply and indicate that there is worse, much worse, and that there is something incommensurable that is concealed.
https://wrongwrong.net/article/thomas-hirschhorn-pixel-collage
http://moussemagazine.it/hirschhorn-man-nuoro-2015/
http://www.thomashirschhorn.com/pixel-collage-2/
1. John Stezaker:
"Photo-collage, is about opening up the space between images, liberating them from their instrumental use. It is a way of trying to reveal something of the abyss or the hidden void within this continuum of image culture of the montage of everyday life. I see photo-collage therefore as a way of encountering the image as empty."
https://theapproach.co.uk/artists/john-stezaker/images/
https://www.saatchigallery.com/artists/john_stezaker.htm
http://www.artnet.com/artists/john-stezaker/
2. Thomas Hirschhorn :
Pixel-Collage is a new series of collages. With these works, I want to integrate the growing phenomena of facelessness in pictures reproduced today. What interests me more specifically in the aesthetic of facelessness is pixelation as its formal embodiment. I want to integrate into my work the increasing use of pixelation.
“Pixelation” has become more and more common, there is an increasing use of pixels or blurring in the media. This phenomenon interests me because it seems that, in order to be authentic, a picture needs to be pixelated or partly pixelated. Pixelating – or blurring has taken over the role of authenticity. A pixelated picture must surely be authentic if it has unacceptable areas which are concealed. The acceptable is not-pixelated.
It is interesting to observe that the use of pixels follows no common law at all. Sometimes parts of pictures are pixelated without logic or reason, as a proof that apparently somebody is taking care, has the overlook, knows and decides what is acceptable and what is not. Partly pixelated pictures look even more authentic and are accepted as such by viewers. It therefore seems clear that pixels stand for authentication: Authentication through authority. And, in our chaotic, incommensurable, contradictory and complex world there is a huge demand for authority. Pixels deliver an aesthetic to this demand for authority.
The justification for pixelation or blurring is either to “protect the viewer”, to keep something in the picture “protected”, or to “protect” whatever information is supposed to appear in the picture. I don’t accept anything “protective” and I don’t think anyone – today – can take over such a thing as authority of protection. Using pixels obviously always comes from an authoritarian gesture. Therefore using pixels creates confusion, frustration – and willingly or not – makes things more ‘hierarchic’, and obviously the act of pixelation is definitely not based on emancipation or emancipating the viewer. Rather, “Pixelation” is clearly used as propaganda, it infantilizes or manipulates the viewer. Furthermore, pixelating a part of a picture might imply and indicate that there is worse, much worse, and that there is something incommensurable that is concealed.
https://wrongwrong.net/article/thomas-hirschhorn-pixel-collage
http://moussemagazine.it/hirschhorn-man-nuoro-2015/
http://www.thomashirschhorn.com/pixel-collage-2/
Max Ernst: What is the Mechanism of Collage? (1936)
A ready-made reality, whose naive destination has the air of having been fixed, once and for all (a canoe), finding itself in the presence of another and hardly less absurd reality (a vacuum cleaner), in a place where both of them must feel displaced (a forest), will, by this very fact, escape to its naive destination and to its identity; it will pass from its false absolute, through a series of relative values, into a new absolute value, true and poetic: canoe and vacuum cleaner will make love. The mechanism of collage, it seems to me, is revealed by this very simple example. The complete transmutation, followed by a pure act, as that of love, will make itself known naturally every time the conditions are rendered favorable by the given facts: the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them….
One rainy day in 1919, finding myself in a village on the Rhine, I was struck by the obsession which held under my gaze the pages of an illustrated catalogue showing objects designed for anthropologic, microscopic, psychologic, mineralogic, and paleontologic demonstration. There I found brought together elements of figuration so remote that the sheer absurdity of that collection provoked a sudden intensification of the visionary faculties in me and brought forth an illusive succession of contradictory images, double, triple, and multiple images, piling up on each other with the persistence and rapidity which are peculiar to love memories and visions of half-sleep.
These visions called themselves new planes, because of their meeting in a new unknown (the plane of non-agreement). It was enough at that time to embellish these catalogue pages, in painting or drawing, and thereby in gently reproducing only that which saw itself in me, a color, a pencil mark, a landscape foreign to the represented objects, the desert, a tempest, a geological cross-section, a floor, a single straight line signifying the horizon…thus I obtained a faithful fixed image of my hallucination and transformed into revealing dramas my most secret desires—from what had been before only some banal pages of advertising.
Under the title "La Mise sous Whisky-Marin" I assembled and exhibited in Paris (May 1920) the first results obtained by this procedure, from the Phallustrade to The Wet Nurse of the Stars.
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