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* Walid Raad [2] | * Walid Raad [2] | ||
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File:Raad-Pension-arts-in-Dubai-1024x768-1.jpg | |||
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The installation and performance titled “Scratching on Things I Could Disavow” consists of several parts at the Museum of Modern Art, a computer projection or tableau as the artist calls it, which forms the backdrop of his performance. The largest and most complex component, is the wall projection “Translator’s Introduction. Raad’s narrative of the large tableau began with an account of the Artists Pension Trust, a real organization that signs contracts with artists who donate works to a privileged investment plan. | The installation and performance titled “Scratching on Things I Could Disavow” consists of several parts at the Museum of Modern Art, a computer projection or tableau as the artist calls it, which forms the backdrop of his performance. The largest and most complex component, is the wall projection “Translator’s Introduction. Raad’s narrative of the large tableau began with an account of the Artists Pension Trust, a real organization that signs contracts with artists who donate works to a privileged investment plan. | ||
Walid Raad claims that everything he says is factual, but there are different types of facts: emotional, aesthetic, historical, psychological. But Raad’s real point is not this huge contemporary art collection, but the basis for the determination of value in contemporary art for such a fund. Who will buy the work and why? Financial investors need to have a basis for their decisions. He digs into its background and discovers that the tech workers of the parent company are former Israeli military intelligence officers. That company is owned by another company that combines risk management and algorithms: it analyzes data such as auctions, art language, and even color, in order to determine what affects the value of art. | Walid Raad claims that everything he says is factual, but there are different types of facts: emotional, aesthetic, historical, psychological. But Raad’s real point is not this huge contemporary art collection, but the basis for the determination of value in contemporary art for such a fund. Who will buy the work and why? Financial investors need to have a basis for their decisions. He digs into its background and discovers that the tech workers of the parent company are former Israeli military intelligence officers. That company is owned by another company that combines risk management and algorithms: it analyzes data such as auctions, art language, and even color, in order to determine what affects the value of art. | ||
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*Adelheid Mers | *Adelheid Mers | ||
[[:File:Mers_EC_Mandarin.pdf]] | [[:File:Mers_EC_Mandarin.pdf]] | ||
She devotes to visual art. On this diagram “Effervescent Condition”, she first created a text by interviewing the curator, Fang-Tze Hsu, and participating artists Nadav Assor, Florian Graf, Joshua Sampson and Yefeng Wang. Interviews were informal and lasted about one hour each. She allowed the conversations to move along, but also asked questions about the artworks for the exhibition, and how they resonate with the artists’ and curator’s extended practice. After a few days, she began to sort through the relations and images, and a diagram began to take shape. Extended design process used by a quick hand drawn sketch, using Photoshop, Illustrator, and modified images downloaded from the web and from her own collection of icons and pictograms. The final drawing is digital. [] In my own work, I try to use lines, circles and other geometry graphics to build relations among “public media”, “isolation” and “propaganda”. Using images, videos also gif to enhance the expressions. | She devotes to visual art. On this diagram “Effervescent Condition”, she first created a text by interviewing the curator, Fang-Tze Hsu, and participating artists Nadav Assor, Florian Graf, Joshua Sampson and Yefeng Wang. Interviews were informal and lasted about one hour each. She allowed the conversations to move along, but also asked questions about the artworks for the exhibition, and how they resonate with the artists’ and curator’s extended practice. After a few days, she began to sort through the relations and images, and a diagram began to take shape. Extended design process used by a quick hand drawn sketch, using Photoshop, Illustrator, and modified images downloaded from the web and from her own collection of icons and pictograms. The final drawing is digital. [] In my own work, I try to use lines, circles and other geometry graphics to build relations among “public media”, “isolation” and “propaganda”. Using images, videos also gif to enhance the expressions. | ||
==Main Content== | ==Main Content== |
edits