fromhow, 2010

working method

Here I can explain some things people recently or a while ago said about my way of working.
Democratic: Carol mentioned that my way of working deals with the definition of democratic. I think she
mentioned that I do believe that everyone and everything has an intrinsic valid content.
For the exhibition:
We can guide a certain content a bit more by putting some certain people together. Perhaps it is my
contribution to let feel everybody at ease and install some parameters to be able to spin around.
But from there I would like to give everyone space for action and dialogue.

Anarchy: Someone once called my works anarchic works. There I think he mend that my work is reasonable
direct and that it doesn’t like to explain itself to much. The work repositions the hierarchic order temporary. I
tried often to free an image in it’s normal habitat to be able to reflect it’s position.
Acupuncture: Liu Gang, my first assistant here in Beijing named my work acupuncture. Don’t know if that is
common to say in China but I felt pleased with it. Because it makes sense to the fact that I don’t really
believe in the mono- or in one-directional activities. I do believe that an image is not at all about delivering a
statement-image. All of you have that same kind of idea I think. Although the one deals more with the
reality of force in our profession or in our private lives.
female/male: A Photographer once told me that he saw a nice combination in my work of female an male
approach. This in the way of dealing with addressing the content of things. I liked that because I do believe
that there is no direction in life. We just float and we have to accept that. That is one reason for me not to
believe. Not to believe in anything. That is also a reason why I sometimes publish things with ‘Auto’ (it is my
unofficial publication house).
But that said we cannot ignore that we are here together with others and communicate. We should be able to
formulate our entity from time to time to be able to leave it again. We can show some other hierarchy or
ways in thinking and acting and we have to.
Being careful careless would be a perfect way of being although I’m not able to, ha!

7 Comments

  1. Posted 2010/01/24 at 19:01 | #

    thank you, reinaart, for more detailed updates! i try now actually to see if the comment e-mail notification is working (the previous one did not work, now i try again…). i will add xiao ke as an author of this blog shortly… shall i add michael eddy and others as well?

  2. Posted 2010/01/24 at 20:48 | #

    Hi, i just make a test :)

  3. ceo
    Posted 2010/01/26 at 18:17 | #

    Hmm test again.

  4. ceo
    Posted 2010/01/26 at 18:31 | #

    Again

  5. ceo
    Posted 2010/01/26 at 18:33 | #

    Hmm

  6. Posted 2010/01/26 at 18:46 | #

    Hmm again

  7. Posted 2010/02/23 at 00:26 | #

    Just came across this just now, found the essay in many ways relevant to my work, and this particular bit, very much a continuation of the modifier ‘democratic’ which Carol Lu described of your work, and as well relevant to also space:

    The different subject positions encounter one another and catalyze (re)vision through such interactions as a result of their proximities, both physically and intellectually. It is no wonder then that many of these projects have been hailed for their democratic nature, through the visualization and vocalization of the polis, but I would take this idea even further. These projects are not merely embodiments of democratic ideals, but are part of a larger project identified by French philosophers Ernesto Laclau and Chantal Mouffe as “radical democracy.”[1] This is not the complacent form of democratic participation that largely defines many political systems today, but the creation of an “agonistic public sphere.”[2] At this point, the notion of representation within the arts becomes infused with a sense of political representation. Debate and contestation are the cornerstones of a healthy political sphere, and I hold the same for works of art that attempt to address issues that also blend into the realms of the social sciences and beyond. This extends their potential value far beyond the rectification of some perceived societal ailment. Socially engaged, collaborative public art projects, in my opinion, should not be subjugated to some ameliorative function or criterion, as this would greatly reduce the complex nature of such practices and the issues that are their raw materials. While many of these projects certainly contain some ideological bent (which is unavoidable, a facet of authorship), there is also a concerted effort to represent the true, multivalent nature of such issues. Art, after all, is more concerned with raising questions than providing concrete answers.

    (taken from “Making the Invisible Visible: A City in Multiples and the Art of Multiplicity”, by Steven L. Bridges; full text here)

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