week48:
undress the (power) system
Man for a day
Film
Workshop by Diane Torr
Freitag, 29. November 2013
week48:
to undress:
bare a system
where is the power
the skeleton of a structure
"What is it in real?"
Where am I?
imagination
memory
bare your imagination,
undress the skeleton of a structure,
is it real memory,
am I bare,
where is the power?
is the skeleton of a structure real,
am I the system,
undress your imagination,
bare your memory,
what is power,
where is it?
Am I the system,
or am I the structure,
where is the real imagination,
memory_power,
undressed skeleton.
undress the real,
system imagination,
what am I,
what is bare power,
where is the skeleton of memory.
Donnerstag, 28. November 2013
Mittwoch, 27. November 2013
week48:
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
I see
size
dimension
force
strength
power
fixed
stable
solid
mechanik
weight
geometrical systems
steel
machinery
power system
I think
horse
trojan horse
swan
praying mantis
crane (Kranich)
dinosaur
horse harness
ballet dancer
animate beings
It is
quiet
empty
bright
calm
appeasing
absorbing
gently
fine
surreal
week 48:
After taking another look from the southern side of the Göta älv to the big red container- and harbor crans, i went to the oppiste side of the "river", near Lindholmen. I wanted to get a closer look to the cranes.
It was sunnday, so there were nearly noone in this area. No workers, no securities, no machine noise, no alarums and excursions, everything was calm and quiet. Some cars and boats were parked on the base. Sometimes ambler with dogs passed by.
Around there are some big industrie halls, maybe garages, factorys oe workshops for the ships, machines and cranes.
The first crane I met was red, there is no fence, no bar, just a signboard "no access for unauthorised person". The crane is standing near the port entrance, inbetween the street an the river. My estimation in things like altitude is pretty bad, but I would say the height of the crane was like pile 12 - 15 cars up.
Standing the first time close beside the crane, was like being something small and powerless, having respect for the size and the power of this big "thing". Like I sad, threre is no barrier, and there were no people, (just some security cameras) but I didn't dare to ascend up to the crane, more than 2 meters. Maybe because of the fear about doing something dangerous and illegal, or just about the power of the crane? I don't know, I can't tell.
Going further searching for the other cranes, nearly the whole area was fenced-off with a high chain-link and barbed wire fence. So no chance to see the other cranes so close as the other one.
But also with whole barriers I had a really good view (gaze) to the cranes.
There are 5 big red container- and harbor crans, and some smaller ones.
ust to be shure, that you understand, where I was: directly bedind the dry-dock (which you can see very good from the other side, the big blue thing with inscription "göteborg" on it). All nearly the same size as the first one.
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
Sonntag, 24. November 2013
Mittwoch, 20. November 2013
week47:
In my conversation with Anna we talked about the power of invisible structures. The influence, and the connection between visible structures and the invisible power of this structure.
An artwork is also an visible structure with invisible power.
an example: on Sunday I was in the Gothenburg Art Museum. Other than lot of paintings from the 18th, 19th and 20 century, as well as modern art from the 21st century, I saw this work, and I was really confused and fascinated at the same time. I could not decide, if my feelings should be good or bad, if I should like this artwork, or if I should not like it.
I was standing and sitting in front, beside, far away, really close just to look at the "woman", to order my thoughts about the dancer.
On the fist view I was really astound: There is this big building. From the outside it seems very epic and heroic, with his size, the big arches, included in the Götaplatsen surrounded by the other "historical" buildings, a town's landmark. In the style of the classicism, build to demonstrate power and history of a city, to fill this building with a lot of "beautiful" art history. This building emanates inviolability for me.
On the other hand, there was this artwork, it was different like the other "modern artworks" (from 21st century) in this museum. This artwork was sooooo big, so white and so "not typical art". When I saw it I was standing on the other end of the sculpture hall, and there were a lot of other sculptures between me and her. But it was like she was talking to me, through the whole hall "look at me, come closer".
I went to the sculpture, and even than, I realised that this is a woman, dancing on a pole, with very high shoes, smooth stockings, subtly pants and shirt, naked skin. She has long hair, a ponytail, a slim figure. Her hands are very big, comparing to the rest of her gently but beefy body. I noticed that the woman has no pupils, this was a little bit scary. She was "hanging" up site down from the pole, turned around, and turned around and turned around...
On the first view I was so "shocked", because i was influenced from this buliding. My first thought was "ooo my god, how can they put a woman who is dancing on a pole, who declares with her appearance a special kind of woman to the viewer, in a very historical museum like this one. And than in this size, in this dimension"
I was in a conflict with myself, what does this woman doing here? what should I think about her?
I thought about my artworks, abou the "conflict" in my artwork. Why do I think in a special way, and why do I have to work every time "supersafe". In every artwork I have concern that people don't understand what I want to say. I have doubts that they can't comprehend and follow my thoughts. I think because of that, I always work in a way, that everyone understand my work, and that everyone can interpret the work just in one direction, in my direction. I allow the viewer no conflict in my work, every thought is precisely predefined.
This sculpture managed that I started a dialog with myself about my thoughts.
About my way of trigger out dialogs between the viewer and the artwork.
Cajsa von Zeipel | Seconds in Ecstasy
Göteborgs Konstmuseum, 2011
Dienstag, 19. November 2013
week47:
In my research about power, about an definition of this "big word", I found two artworks...
They are about the invisible power, an invisible force on which people are exposed.
Radioactive radiations and electric- and magnetic fields provoke long term aftermaths which influence humans evolution.
Which person has enough social- or political power to decide on humans future in that way?
1.
Time lapse map of every nuclear explosion ever on Earth by artist Isao Hashimoto
2.
Field of beams by artist Richard Box
week47:
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| © Viktoria Gitzl |
I am a test pilot. Exploring unknown fields of thinking. My way is not foreseeable. The aim is to establish contact with the amorphousness. To avoid to press the button of selection, to be open for the extraterrestrial. I have to accept the incalculable journey, to meet the challenge of starting a dialog with my outside world.
week 47:
physical power
emotional power girlpower
knowledge is power
social and political power
pwerpuffgirls
power of nature
wind power
Power ON
brain power
nuclear power
power to preserve
Austin Powers
Power Plate
power OFF
Power Rangers
horsepower
electrical power
hydro power
powerpoint
power of love
powerbalance
power of history
Leistung
Macht
Kraft
Energie
Strom
Gewalt
Schwere
Stärke
Wucht
Vollmacht
POWER as visual and unvisual subjekt
Sonntag, 17. November 2013
Samstag, 9. November 2013
about week 45, LBD 360:
In Vienna the "semester-final-presentations" are always a little bit stressfull. Everybody has to evidence the own work in front of 8 - 10 teachters, and the students, which than gave her "proffessional" opinion to the artwork of the semester. This "exam-situations" are always very stressed and nerve-racking.
The "exam-situation" here at HDK on Wednesday and Thursday in the course of the exhibition, was much more enjoyable, than the presentations that I used to do normaly. For me it was not like an exam, but rather like a nice relax conversation between us students and teachers. Not the opinion of the professors were most important, but the talk and the dicussion about the work with the other students. So I got the possibility to hear a lot of impressions and criticism about my work, which showed me how other people feel about them. I sometimes think, that people don't understand what I want to say with my projects, but that discussion showed me, that (in this case) everybody understood what I was intended to say. So I think, every discussion during the university time should end up like this.
Of course, I was really nervous before my presentation, like I am always when I have to talk infront of people or when I have to show at someone my own work. But that nervousness has subsided after the first words I talked to my classmates and teachers. I can say, that the whole atmosphere was really comfortable, so everybody were able to make a good presentation.
The exercise to look closer at someones work, was also a good advice to participate to the Exibition in a other way. I had the chance to go very into the work of someone else, and to understand his/her process. Especially by the accurate description of the whole process on every blog, it was easy to follow everybodys thoughts and work-steps. So every artwork was than after the first real view much easyer comprehensible and understandable for me.
What I would have preferred is, that beside the artwork would have been some description/summary, so every visitor is able to follow and easier to understand even if they are not in this seminar.
Maybe for the next time.
In Vienna the "semester-final-presentations" are always a little bit stressfull. Everybody has to evidence the own work in front of 8 - 10 teachters, and the students, which than gave her "proffessional" opinion to the artwork of the semester. This "exam-situations" are always very stressed and nerve-racking.
The "exam-situation" here at HDK on Wednesday and Thursday in the course of the exhibition, was much more enjoyable, than the presentations that I used to do normaly. For me it was not like an exam, but rather like a nice relax conversation between us students and teachers. Not the opinion of the professors were most important, but the talk and the dicussion about the work with the other students. So I got the possibility to hear a lot of impressions and criticism about my work, which showed me how other people feel about them. I sometimes think, that people don't understand what I want to say with my projects, but that discussion showed me, that (in this case) everybody understood what I was intended to say. So I think, every discussion during the university time should end up like this.
Of course, I was really nervous before my presentation, like I am always when I have to talk infront of people or when I have to show at someone my own work. But that nervousness has subsided after the first words I talked to my classmates and teachers. I can say, that the whole atmosphere was really comfortable, so everybody were able to make a good presentation.
The exercise to look closer at someones work, was also a good advice to participate to the Exibition in a other way. I had the chance to go very into the work of someone else, and to understand his/her process. Especially by the accurate description of the whole process on every blog, it was easy to follow everybodys thoughts and work-steps. So every artwork was than after the first real view much easyer comprehensible and understandable for me.
What I would have preferred is, that beside the artwork would have been some description/summary, so every visitor is able to follow and easier to understand even if they are not in this seminar.
Maybe for the next time.
Mittwoch, 6. November 2013
week45:
Schatztruhe der Nichtigkeiten
23 gesammelte Erinnerungszünder
(Treasure chest of the vanities
23 collected memory igniter)
The letter case (Setzkasten) made of cardboard is a treasure box for my finds, found in Gothenborg the last eight weeks. The finds are removed from there normal environment in the nature and puted into smal blastic bags, to keep them safe and shielded from the outside world.
Every plastic bag lies on a red velvet pillow whichone should underline there worth.
Every single find of the 23 pieces in the collection is so valuable, because they are all igniters for memories about my life here in Gothenburg, but also for thoughts about my early memories. Each find starts a whole chain of associations and memory spaces.
It doesn't matter how the finds are looking in the plastic bag, even if they decompose or mildew, because not the material value of the thing itself is importend, but the memories and thoughts that they are in connection with.
On the left side of the treasure box/archive, white gloves and a forceps are presented on the table.
This items should invite the beholder to take a colser look at the finds, to discover them. But always in a way, which shows the high value of the collection.
Folded three dimensional stuctures are "flying" above the collection. As I allready wrote in the last post, these form of isocahedrons made by the origami technique shows as best how I see my memory spaces (mind bubbles). The complicated forms are set together by differnet components of Gothenburg city maps.
The choosen material should show the connection between the real existing find spot and the find as the memory igniter.
All the materials were selected for a certainly reason, to express the mental worth of things, comparing to the worthlessness of the material character.
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
Dienstag, 5. November 2013
week44/45:
During my work on the "cardboard archive" I also tryed to work on the progess of the shape of my inner archive. As I allready wrote, my inner archive seems for me, like a cloud of different bubbles, in different sizes and differents shapes, poping out one from another.
As I wrote in the post of week 41,
"If I think about my “inner archive”, then is this actually somewhat that is not tangible or concrete. Something, which does not has a material-related form, since it concerns an abstract structure.
With the attempt to find out, how this abstract structure, all these thoughts, are ordered, I noticed that all my memories, experiences, sensations of the past (sound, taste, smell, and haptic memories), visual stored images, feeling- and emotion memories are tied to specific experiences /events/adventures.
So my "inner archive" does not follow a chronological (example: annual rhythm) order, but consists of thousands of small and large memory spaces. This in turn contain a certain time, certain people, a certain action/activity in a certain place. All these memory spaces, or we can call them also knowledge spaces, exist next to each other and do not follow a incomprehensible order. All these memory spaces are indeed stored in my thinking, but I can not fetch it immediately. This means I need an impulse, an initiation, a motive that opens me certain memories and knowledge spaces, enlightened them. This will trigger a whole chain of associations, and numerous memory spaces pop up, one after another."
the form of this mind-bubbles is very inconcrete and difficult to describe with a common geometric form. On my search for a at least a bit perfect form to describe my thoughts, I driffted away from the form of normal globes and came thereby every step closer to a very complicated, difficult and hard to imaginate, three- dimensional structure.
During my reasearch I found than a quiet special form, whichone came my inner picture of these mind- bubbles very near: the more complicated icosahedrons.
In week 41 I posted for that reason pictures from the collection of "Bea Szenfeld". These "paper works" are made by a lot of icosahedrons, but they seem to be just easily bonded together with glue.
For my work, it was in return, necessary that the forms keep flexible and modifiable to show their character of an uncertain and nondurable structure whichone can change by every new impression.
So every impression can trigger a whole new chain of associations. The oragiami paper folding technique was, for this needs, the best choose. At the end, I found very special and unique forms of isocahedrons in origami style, whose features and qualities correspond very close with my immagination of the mind bubbles structure.
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
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| © Viktoria Gitzl |
week45:
I want to recommend you two books about paper and cardboard design. They are very interesting, because you can see, that paper and cardboard is not just material for writing/drawing/painting and packaging, but also as material itself offers a lot of possibilities.
You can find the books in the liberary at HDK.
Outside the box: Cardboard Design now
Michael Czerwinski, Santiago Perez
"Outside the Box: Cardboard Design Now takes a detailed look into this versatile material, and how cardboard is used in a creative, artistic and practical way in contemporary design and everyday life. From minimalist packaging, children’s toys, decoration to furniture and even largescale interior architecture, Outside the Box reveals just how far it is possible to push the uses and potential of cardboard.
Outside the Box charts the material’s evolution through to modern practices, profiling some of today’s most inspirational and provocative artists and designers working across the fields of art, design and sculpture. Among those featured is Frank Gehry, who has produced an iconic range of corrugated cardboard furniture for Vitra, and Shigeru Ban, whose cardboard disaster relief housing and deconstructable cardboard schools have put him at the forefront of eco-design. Also included are cardboard designs by Charles and Ray Eames, Bruno Munari, and Habitat, amongst others.
Outside the Box is attractively packaged and unpacks the creative possibilities of a material wrongly dismissed as staid and uninspiring."
Paper: Tear, Fold, Rip, Crease, Cut
Raven Smith
"Paper: Tear, Fold, Rip, Crease, Cut shines a light on the
beautiful world of paper art, fashion and design. From the traditional
art of origami and paper cutting through to contemporary experiments in
conceptual paper installations and modular folding, Paper
celebrates one of the world’s oldest and most widely used materials in
all its visual glory, providing an analogue remedy to the digital world.
Paper profiles over fifty artists and designers who work
with the medium, from the vast sculpted installations of Mia Pearlman
and the delicate paper incisions of Noriko Ambe, to the light-hearted
illustrations of Robert Ryan and the forward-thinking furniture design
of Tokujin Yoshioka. Also included is an informative history of the
material and its role as an art form, from the ancient process of paper
manufacture in Ancient China to the most recent technological advances.With a foreword by leading paper artist Richard Sweeney, and essays by origami expert Hatori Koshiro, Paper: Tear, Fold, Rip, Crease, Cut is an elegant and insightful look at the sumptuous world of paper today."
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