This week: The final installment of SoPra fest 2013, Paul Ramirez Jonas!
Ramirez Jonas has said of his work:
“I create as I speak: I consider myself merely a reader of texts. The pre-existing text I treat as a score: a diary, an old photo, a footpath, music, etc. The reading can take the form of performance, sculpture, photo, or video. Thus, a musical score results in a sculpture, a diary, in a video, or the plans for a flying machine in a photo. In my works, what looks like invention is but re-enactment. Being a reader, don’t I have more in common with the public than with the author? I find that commonality in working with pre-existing materials.”
Currently, Ramirez Jonas sees his role as “extending beyond the private reader, and into someone who invites viewers to join in. The result of this shift is the reassertion of a contract between the artwork and its public.”
In 2008 at the 28th Sao Paulo Biennial, Ramirez Jonas arranged for members of the public to a receive a key to the front door of the biennial venue, the Ciccillo Matarazzo Pavilion. Each person who received a key was required to leave behind a copy of one of their own keys as well as sign a contract that established an agreement between themselves, the curators, the artist and the biennial foundation.
For the 7th Mercosul Biennial in Porto Alegre, Brazil in 2009, Ramirez Jonas altered three large boulders by carving into them a space for monument plaques to be placed. Instead of creating permanent monuments to a State honored figure or event, he turned the monuments into platforms for cork boards for the fleeting message or personal note-the ephemeral voice of his public.
In the summer of 2010, Ramirez Jonas created the Key to the City project in New York City with Creative Time. Though keys were only distributed up until June 27, the locks will remain accessible throughout the summer, until September 4, 2010.
He is represented by Alexander Gray Associates in New York and Roger Bjorkholm in Stockholm
January 18, 2013 · Print This Article
I came on as the Managing Editor of the Bad at Sports blog about a month ago. It’s been an exciting turn and I hope to do well by it. A few people have asked what my vision going forward is, and I thought I might say something about it here. I hope to continue reflecting on the dynamic energy in Chicago’s contemporary art world while connecting to conversations and aesthetic agendas in other cities and disciplines. That agenda was set in place a while ago and I believe I can continue to guide and focus that intention. There is room for experimentation in that vision, which seems necessary to me. Bad at Sports has never presented a tidy, singular package and as such, I believe it would go against the nature of the project to filter content and tone through a single, editorial lens. Its roots in independent, DIY and Punk Rock collectivism remain at the heart of the project’s vitality and the blog is a platform for unique and individual voices that pass through the subject of contemporary art and culture. As such it becomes a nexus of concerns and responses to culture at large. That is something I hope to preserve under my stewardship. As an artist-run forum, Bad at Sports has the unique capacity to reflect on a host of subjects, exposing the intellectual, aesthetic and social networks that define and subsequently influence cultural production. I believe it is our job to explore and discuss the contexts we inhabit. In doing so, we further establish a living touchstone and future archive of contemporary discourse.
Some changes should be apparent already — others will fall into place like pieces of a puzzle in the coming months. The process is organic, but I’ve been trying to set up a casual, thematic architecture that unfolds over the course of a given week. Eventually, I hope to schedule two posts a day, one before 2pm and one after. Built in to this, is room for special occasions and guest writers — those posts would either go live in the evenings, or fill in existing gaps. To that end I’ve been inviting a number of new writers, many of whom I have admired for a long time.
Here is something of a loose schedule:
Mondays: Essays and reflections from old favorites Jeriah Hildewin, Shane McAdams and Nicholas O’Brien — writers who have been posting with consistent dedication. In addition, I’m excited to announce a new bi-weekly column by Dana Bassett, whom you may know for her ACRE Newsletters.
Tuesdays are dedicated to three subjects: Performance, Social Practice, Language (or the performance thereof) and Object Oriented Ontology. Confirmed participants include longstanding contributor Abigail Satinsky and Mary Jane Jacob (Social Practice), Anthony Romero and João Florêncio (performance), Gene Tanta (language), Robert Jackson (OOO).
On Wednesdays, we will read about artists and art in other cities. The following writers will post on rotation: Jeffery Songco is covering the Bay Area, Sam Davis continues to represent Bad at Sports’ Los Angeles Bureau, Sarah Margolis-Pineo is writing about Portland. Juliana Driever will be relaying posts, interviews and artist profiles about New York, and then we’ll bring it back to the Midwest with Kelly Shindler’s dispatch from St. Louis, and Jamilee Polson Lacy writing about Kansas City.
Thursdays herald our illustrious Stephanie Burke’s Top 5 Weekend Picks and a new monthly contribution from author/translator Johannes Göransson whose writing you can also find here.
Fridays have been set aside for art reviews and artist profiles with contributions from Danny Orendoff, Monica Westin, Abraham Ritchie and myself.
WEEKENDS will feature a range and flux of the above, plus Brit Barton’s Endless Opportunities, cultural reflections and short essays by Terri Griffith, continued posts from Jesse Malmed, in addition to a monthly contribution from the newly confirmed Bailey Romaine and Adrienne Harris.
My last note is this — there is room in this schedule for additional posts, posts that would feature special events, festivals and conferences in the city. That space would also be available to, at times, connect the blog and the podcast. As a first indication of this, we will be highlighting IN>TIME, a performance festival that is going on as we speak, from January until March.
Otherwise if you have any comments, suggestions or, even guest posts you would like to submit, please feel free to contact me at: email@example.com
This week: More SoPra! From the Open Engagement 2012 Duncan, Abby Satin Sky, Randall, Jesse, and Brian team up against Sal Randolph!
Sal Randolph lives in New York and makes art involving gift economies, social interactions, public spaces, texts, and instructions, including Opsound, (a site for the exchange of copyleft music) the Free Biennial and Free Manifesta (a pair of open guerrilla ‘biennials’), Free Words (a book infiltrated into bookstores and libraries), and Money Actions (an ongoing series of interventions in which she gives away money to strangers.
Her Money Actions have been part of the 2011 Ljubljana Biennial, the Live Biennale in Vancouver, Art in Odd Places, and textual version have been exhibited at Christina Ray Gallery. Other projects have taken place at Manifesta 4, Roda Sten, the Palais de Tokyo, Burofriedrich, Art Interactive and Pace Digital Gallery. In early 2012 she was an artist in residence at Proteus Gowanus in Brooklyn where she offered members of the public free tickets to unknown destinations.
Recently she has also performed live with her manual typewriter as part of ‘And the Winner is Nick Kahn’ at the Cantor Fitzgerald Gallery at Haverford. Her work has been commented on in Olav Velthius’ Imaginary Economics; Contemporary Artists and the World of Big Money, Eileen Myles’ The Importance of Being Iceland, as well as on National Public Radio and in The Art Newspaper, Tema Celeste and the Village Voice.
She is currently investigating games, recipes, algorithms, codes, and texts, playing video games, and writing about about experience, participation, and value in art.
This week: Duncan, Brian, Abigail Satinsky and special guest host Jacob Wick (MFA candidate in social practice at CCA in SF, he has a hot dog stand and it’s art….kidding….kidding) talk to Sean Joseph Patrick Carney about @socialmalpractice, Fuck James Franco and more more more! Everyone gets silly, editing was exciting. After that Richard and Max report live from the Chicago Toy and Game Fair. Max thinks the Star Wars nerds from the 501st are scary as hell.
Sean Joseph Patrick Carney is an artist, educator and writer living and working in Portland, Oregon. He has exhibited original work and performances nationally and internationally in New York, San Francisco, and Amsterdam, amongst others. Carney’s interdisciplinary art practice includes stand-up comedy, sculpture, performance, sound, critical writing, satire, and public happenings. He is the founder and director of Social Malpractice Publishing, an artist book distributor. In 2011, he co-founded the Conceptual Oregon Performance School (C.O.P.S.), a free, artist-run summer institute focused on contemporary performance strategies and critical theory. Carney earned a BFA in Printmaking with a Minor in Secondary Education from Arizona State University in 2004, and an MFA in Visual Studies from Pacific Northwest College of Art in 2009 where he now works as an arts administrator in the Graduate Studies Department and as a faculty member in Intermedia.
The following interview with Mary Jane Jacob continues from the Art21 blog; you can read that here. Our conversation is filtered through the lens of two books, Buddha Mind in Contemporary Art and Learning Mind: Experience into Art that Jacob co-edited with Jacquelynn Baas. Those books were published by the University of California Press in 2004 and 2009 respectively. The third title in the series, Chicago Makes Modern: How Creative Minds Shaped Society, is due out through the University of Chicago Press this summer.
CP: One of the things that especially intrigues me about this connection (between Buddhism and contemporary art practice) is how it encourages a kind of anti-egotism, something that goes directly against the grain of our larger society. When so much about cultural production feels contingent on the legitimacy provided by recognition, monetary reward and public acclaim, it is difficult to comprehend an art practice that functions outside those expectations. I am particularly interested in what kinds of conversations arise between you and your students as you wrestle with this subject. Can you talk a little bit about that?
MJJ: It’s true that egotism, the get-all-you-can-help-yourself-ism of which you speak, is a prevailing strain of our society; we see it played out right now in the Republican primaries. But I would not like to call it “the grain of larger society” because, at the same time, there is a lot of desire for change. It’s expressed in a rising consciousness for the need to care for the earth, for community well-being. Not everything points to self-serving-ness. This other strain possesses a sense of necessity and a lot of optimism. Many understand that this selflessness today is urgent to take into action. It also has something to say about why art? I trust art in the social equation.
Among students it is in part a factor of their generation (young people embracing aspects of ‘70s counterculture) and in part a value of art, and notably in the modern era. While modernism brought us the solo, superstar artist, there was another side. This is the story of modernism we are telling in upcoming book Chicago Makes Modern: the role of art that is beyond self for the benefit of the greater good, for the common cause. The severing of art and spirituality is a much-mistaken myth about modernism; take for instance the convictions of Malevich, Moholy-Nagy, Newman, Reinhardt….
So for students who have their careers and lives ahead of them—who have chosen art, not just because they possess skills and interests, but because they often share certain social values, and who have a desire to probe and create meaning, to realize themselves and to communicate to others through art—the work that came through the “Awake: Art, Buddhism, and the Dimensions of Consciousness” program and which they can access through the Buddha Mind book speaks to them. I have found students ready, really hungry, for this. And many Asian students at SAIC have conveyed to me how this has given them a new way to look at their culture, at something they took to be tradition and not modern; they have felt a sense of integration.
CP: Additionally there is a way in which you tackle the idea of consciousness (and of course philosophy) — ideas which are not often (as far as I can tell) discussed in tandem with artmaking. It reminds me of a very early essay in Learning Mind: Experience Into Art, where Danto describes Modernism as a movement to separate and parse painting from sculpture (p.20).
MJJ: It seems like you could also say the same of philosophy and art and religion and science — of course, these subjects bleed into art making, but they seem to me to be generally reserved for a kind of personal artist-talk expose. More often than not, I feel like there is an emphasis on the social implications of art work, how it can function politically, but here there is a suggestion that it can function philosophically as well, as kind of tenant of meaning…is that a fair understanding?
It’s great you bring up Arthur Danto because he is a writer and a friend who was very important to me in the early ‘90s when I was trying to retool and find my way back to art and out of museums. What I love about Arthur is that he can write eruditely (he can cite and use so aptly references from all of Western culture) and at the same time bring it right down to street level (quoting an immigrant cab driver). He uses philosophy to understand our life now, and isn’t that what philosophy was intended to be. He also sees art as a valuable, fundamental part of life; not all philosophers do. But one who did, John Dewey, we might say had an art philosophy of life.
Considering the respect these thinkers had for art, I think they’d agree that artists have a lot to say—in their art and in their words, through their works and lives—that speaks to a larger realm of being. So I don’t know that I’d see “personal artist-talk” as “expose”; I’d hope with the best of them offer insights. At least that’s how I look at it. Maybe that’s why I align more with artists than other arts-related professionals.
CP: There seems to be a natural progression between the extensive work you’ve done discussing art that takes place in the public sphere — the way that such projects challenge conventional hierarchical expectations about art’s place in society. This examination of Buddhism seems to access a different aspect of that same conversation, though one no less political. I am very curious about whether you feel like you address and incorporate Buddhism as a religion, with it’s varied and immense associative/historical past, or if it is more like a kind of philosophical metaphor. I feel like Buddhism somehow becomes a corollary example that, grafted onto an artistic practice would lend new (and iconoclastic) insight. Insight that is not *necessarily* contingent on one’s becoming a monk….
MJJ: Thanks for recognizing that the subject of Buddhism and art has something to do with my work in the expanded public art arena. I said at the beginning of this interview that some program officers in foundations criticized negatively my “organic” process of curating. However, during the early days of the “Awake” program a foundation president, who had greatly help find the program, came up to me at a session break and said, “I see how the Buddhism project relates to your work with the Spoleto Festival.” [I have worked for two decades on site-specific and community projects in Charleston South Carolina, starting with the exhibition “Places with a Past” in 1991.] I was astounded; I had been trying to come to terms with what , at that point, I felt more in my gut than my head. So it was amazing to hear these words, this perception from another.
With the Buddhism project we always made clear this was not about religion, not a cultural study either. It was to see what this wisdom tradition can tell us about the art experience in making and in viewing. This was a level of primary research for us as artists, curators, and educators. Some of what I took away was generosity (we see this as a mode of art practice today as well as in general in the way art is offered to others, including the notion of the gift), interdependence (and here I think of the intrinsic relationship of artists and audience, object and viewer), interconnection (this has a lot to say about our relationship to others and to the world), potentiality and the concept of “not-empty” (the unknown, the creative space), non-attachment (the way art is a generative process), and the beginner’s mind (that something doesn’t have to be wholly new and, in recognizing what came before us, we should neither possess the hubris that we are the first and unique, nor be deflated that everything has already been done; rather to possess the beginner’s mind is to take something into yourself, revitalize it by having it live within you, and with this, innovation is always possible).
So Buddhism is not “grafted” onto artistic practice. Instead, as I feel you mean when you say it can lead to “insight,” Buddhism offers things consistent with the art process, and for some artists it can aid that process. So the next book in a couple of years from now (tentatively titled Artway of Living) will continue this thread. On the one hand, it will deal with socially engaged artists, so the public art aspect remains. On the other, through artists’ firsthand narratives and, yes, their insights, it will dwell on questions at-once philosophical and practical: How can you sustain your art practice? How can you sustain your life as an artist? What is it to live the life of an artist? What is it to live your life as a work of art?