Christina McPhee
Since the beginning
Works in United States of America

PORTFOLIO (5)
BIO
Christina McPhee http://christinamcphee.net
Discussions (160) Opportunities (2) Events (30) Jobs (0)
DISCUSSION

relational aesthetics


On Apr 20, 2006, at 8:28 PM, Ryan Griffis wrote:

> Or for a more current example, read Claire Bishop's crit of
> relational aesthetics, which is so a contemporary "Art &
> Objecthood." She also "gets" relational aesthetics and that is
> where her crit comes from... despite her (very) valid points about
> the denial of conflict in Bourriaud's relational aesthetics (and
> its simulation of egalitarianism/anarchism), her crit comes down to
> a defense of "Art" and its boundaries (gender, class, etc) - hence
> the importance of Gillick and Hirschorn to her narrative. i mean,
> someone wants to challenge the "collaborative" practices of
> Tiravanija and that's who they come up with??
> anyway, just some quick thoughts... that are maybe way off the
> topic of abstraction, at least as it's being discussed here.
>

thanks Ryan for the really interesting reference. I found Bishop's
crit online here...

http://roundtable.kein.org/node/202

http://roundtable.kein.org/files/roundtable/claire%20bishop-
antagonism&relational%20aesthetics.pdf

Bishop is critical of Gillick's scenarios as sort of feel good
contexts without a context. Wallpaper: in front of (?) the wall,
people can do something else together, parallel play.
Hirschorn quite the other way, setting up situations that "give of
myself, to engage myself to such a degree that viewers confronted
with the work
can take part and become involved, but not as actors" (Hirschorn,
interview with Okwui Enwezor, 2000) ; while another 'antagonist',
Santiago Sierra, forces viewers into actors 'behind the wall".

'[at the Spanish Pavilion, Venice Biennale 2003)] "Wall Enclosing a
Space" involved sealing off the pavilion's interior with concrete
blocks from floor to ceiling. On entering the building, viewers
were confronted by a hastily constructed yet impregnable wall that
rendered the galleries inaccessible. Visitors carrying a Spanish
passport
were invited to enter the space via the back of the building, where
two immigration officers were inspecting passports. All non-Spanish
nationals, however, were denied entry to the pavilion, whose interior
contained nothing but gray paint peeling from the walls, left over from
the previous year's exhibition. The work was 'relational' in
Bourriaud's sense but it problematized any idea of these relations
being fluid
and unconstrained by exposing how all our interactions are, like
public space, riven with social and legal exclusions."

-christina

> ryan
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/
> subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/
> 29.php
>

DISCUSSION

Cartography of Ashes


Cartography of Ashes" commemorates the great fires after the 1906 SF
earthquake, with
a film that projects outdoors onto the surface of the firefighter
training tower in the Mission district.

Screening Friday, April 21, 8 pm

by Dolissa Medina with the SF Fire Department

http://www.ashes06.org/Site/Home.html

EVENT

Artistic Disasters / 65 Seconds that Shook the Earth BAMPFA


Dates:
Thu Apr 06, 2006 00:00 - Mon Apr 03, 2006

CURRENT PFA PROGRAMS
at the Pacific Film Archive Berkeley....

65 SECONDS THAT SHOOK THE EARTH: COMMEMORATING THE 1906 SAN FRANCISCO EARTHQUAKE:

http://www.bampfa.berkeley.edu/pfa_programs/65secs/content.html

THU APR 6 2006
5:30 Artistic Disasters: Works by George Kuchar, Christina McPhee, Dolissa Medina, Bill Morrison, and Semiconductor (Free Screening!)

Free First Thursday Screening!
Tickets available at the PFA Theater starting at 4:30

Fire, flood, the winds indignant, the very earth in spasm


DISCUSSION

Re: Marshall McLuhan, "actual destroyer of our civilization"


re: http://criticalartware.net/likn_kK.acc.html

Some wormhole Spice: "my name is Kaptain, Kaptain"

To the whereabouts of Kludge, this text may give a klue.

Timonds are forever,

xxc

On Mar 22, 2006, at 8:40 AM, jonCates wrote:

> On Mar 22, 2006, at 9:33 AM, -IID42 Kandinskij @27+ wrote:
>> >Nothing fuzzy either, but diamonds are not logical.
>
> timonds are trans{logical|local}
>
> alternate spellings == timond, tiamond, tyemonde, etc...
>
> recent occurrences == criticalartware's "Kaptain Kludge Stole
> Liken!" account:
>
> "HourGlassDolphins protect timonds + {entry|exit} {to|from}
> bubbleverses. Kludge may have stolen liken, but HourGlassDolphins
> may be able to stop him from absconding wit his terrible treasure.
> HourGlassDolphins know what we also hold tru, dat is: Discourse is
> the meshwork of reality."
>
> uri: http://criticalartware.net/likn.html
>
> // jonCates
> # http://fvnm.info
> # http://r4wb1t5.org
> # http://criticalartware.net
> # http://systemsapproach.net
>
> <--! NOT FOR DISTRIBUTION EXCEPT ON RHIZOME.ORG WEBSITE AND EMAIL
> LISTS. !-->
>
> <--! (CC) SOME RIGHTS RESERVED: Attribution-NonCommercial-
> ShareAlike 2.5 !-->
> <--! http://creativecommons.org/licenses/by-nc-sa/2.5 !-->
>
>

DISCUSSION

Fwd: An Interpretive Framework for Contemporary Database Practice in the Arts


>> Subject: Re: Re: An Interpretive Framework for Contemporary
>> Database Practice in the Arts
>>
>>
>>>
>>>>> please see also/ on the sublime and data....
>>>
>>>
>>>
>>>> www.cosignconference.org/cosign2004/papers/McPhee.pdf
>>>
>>>
>>>
>>> or in another iteration,
>>>
>>>
>>> http://www.christinamcphee.net/slipkonza/
>>> SlipstreamKonzaSemiotics.htm
>>>
>>>
>>>
>>>
>>>>> The . . .more important challenge is how to represent the
>>>>> personal subjective experience of a person living in a data
>>>>> society.. .
>>>>> .How [can] new media. . . represent the ambiguity, the
>>>>> otherness, the multi-dimensionality of our experience. . ?
>>>
>>>
>>>
>>> exactly.
>>>
>>>
>>>
>>> -cm
>>>
>>>
>>>
>>> On Feb 25, 2006, at 9:43 AM, Geert Dekkers wrote:
>>>
>>>> No, Geert hasn't. But he shall!
>>>>
>>>> Geert
>>>> http://nznl.com
>>>>
>>>>
>>>> On 25-feb-2006, at 18:08, Myron Turner wrote:
>>>>
>>>>> I'm not sure if Geert had read Manovich's article on the
>>>>> sublime and data. Brett's essay sent me to it because I wanted
>>>>> to clarify for myself what Manovich (and Brett) had in mind
>>>>> when they were talking about the sublime. Manivoch is
>>>>> contrasting Romantic aritsts, who aimed beyond the senses,
>>>>> aimed at the sublime, to data artists who seek to create beauty
>>>>> by making mapping data to a form that the senses can grasp.
>>>>> But he is concerned, like Geert I belive, that such art leaves
>>>>> out the human dimension, leaves out subjectivity. Manivoich
>>>>> concludes his essay with a personal plea which is very
>>>>> affecting and worth repeating:
>>>>>
>>>>> "For me, the real challenge of data art is not about how to
>>>>> map some abstract and impersonal data into something
>>>>> meaningful and beautiful - economists, graphic designers, and
>>>>> scientists are already doing this quite well. The . . .more
>>>>> important challenge is how to represent the personal subjective
>>>>> experience of a person living in a data society.. . .How [can]
>>>>> new media. . . represent the ambiguity, the otherness, the
>>>>> multi-dimensionality of our experience. . ? In short, rather
>>>>> than trying hard to pursue the anti-sublime ideal, data
>>>>> visualization artists should also not forget that art has the
>>>>> unique license to portray human subjectivity."
>>>>>
>>>>> Myron
>>>>>
>>>>>
>>>>>
>>>>> Geert Dekkers wrote:
>>>>>
>>>>>>
>>>>>> To conclude somewhat hastily -- I do think data and
>>>>>> information are
>>>>>> important pieces of the puzzle, but I think that any good work
>>>>>> of art
>>>>>>
>>>>>> recreates a complete and full world, a reflection of our
>>>>>> world, and
>>>>>> in doing so fundamentally grasps the interdependance between our
>>>>>> bodies, our language and culture. This is at least what I am
>>>>>> trying
>>>>>> to do.
>>>>>>
>>>>>> Geert
>>>>>> http://nznl.com
>>>>>>
>>>>>>
>>>>>
>>>>> +
>>>>> -> post: list@rhizome.org
>>>>> -> questions: info@rhizome.org
>>>>> -> subscribe/unsubscribe: http://rhizome.org/preferences/
>>>>> subscribe.rhiz
>>>>> -> give: http://rhizome.org/support
>>>>> +
>>>>> Subscribers to Rhizome are subject to the terms set out in the
>>>>> Membership Agreement available online at http://rhizome.org/
>>>>> info/29.php
>>>>
>>>> +
>>>> -> post: list@rhizome.org
>>>> -> questions: info@rhizome.org
>>>> -> subscribe/unsubscribe: http://rhizome.org/preferences/
>>>> subscribe.rhiz
>>>> -> give: http://rhizome.org/support
>>>> +
>>>> Subscribers to Rhizome are subject to the terms set out in the
>>>> Membership Agreement available online at http://rhizome.org/info/
>>>> 29.php
>>>
>>
>