Tutorial 8

20th of May 2019 – Tutorial with Jonathan Kearney

In this enjoyable chat JK and I talked about many mutual interests, going from my latest eight blogposts leading up to the plan for final show.

To pinpoint a few, we spoke briefly about the fascinating guerrilla research workshop and will continue the content conversation of this matter later. I mentioned that many workshops and conferences are often inspiring but somehow lacking in continuity and building onwards with likeminded people. These thoughts might result in plans to “change” that and I am already thinking to come up with a new type of residency. Inviting practitioners to my residency and studio setting, including some coaching and networking plans. We spoke about the low-residency short but intense periods, where the rich times are when you are eating or relax together, or share personal stuff during the journeys between galleries. Concluding that the informal part is as important as the formal is.

Then we touched upon my installation It is your turn, which can be divided with different materials like curtains as well. Dividing the senses, touching and hearing on one side, seeing on the other is quite fascinating. People are learning how they play the “instrument”, approaches differ, different people make different movements and therefore sounds and compositions vary hugely. The installation is not consistent in noise because of the unexpected reactions to the forces, thus there is the element of surprise.

JK mentioned the interactive piece called Halo, where 16 max/msp’s were feeding each other on a mesh network of slow iMac mini’s. The technician had not much control and acknowledged that losing control is part of the beauty, and we as artists and public are stumbling together through it.

JK likes my post ‘failure stays an option’ very much, summing up my critical art practice: 

  • (world in) motion
  • interaction (with people, objects, systems and environments)
  • create philosophical meaning
  • to get a deeper sense of life (and death)

[JK]… and this is resulting without squashing the meaning or your agenda through it, it comes naturally from the experiment and the play… how great that this post is about failure!

Then I had to explain drilling of about 200 holes in the tough ceramics. While explaining the set up of the Maelstrom, which is very much a work in progress, I totally forgot to mention how my specific small drills break every time, quite frustrating. My ongoing concept here is making an interaction and two turning motors, in combination with the video projection of Tracing back (10 minutes) on the installation itself. This is about found objects giving them a new purpose and meaning. In a way I rebuild new waves. JK notices about the way it revolves itself and how the work feeds itself.

We spoke about As Eyes Can Not See You, explaining how it started off, how it developed, explaining the idea of a two screen installation and the extra layer of my daughter as inverted shadow in the end, and she is in the distance in part I, seeing what is going to happen with the world and she needs to do something.

In part II the smoothness of the turning is important too, avoiding a sickening effect. The point of view, the camera, is turning: it results in a third person and first person position at the same time.

Carrieres de lumières , the French stone quarry near Arles, influenced my work about The Olive Tree, which uses sentences of Vincent van Gogh and the work is for me as much about sound as about the imagery.

Then we spoke about keeping things modular as important asset for the final show. What would be my scenario in a reasonable size space. In short I present the following: – about 7 standards dispersed around the room with tins reacting on the sound in the space – installation of Maelstrom (how to put the conceptually important video projection as immersive experience will be a light challenge) – monitor with Dynamic Manifesto – videowork on large monitor which I wil bring with me.

We agreed that the public interactions and reflections are important to me. So, I like to do a performative work as well, that ongoing change will be visible from day 1 to day 7, adding elements to it, building it to the interaction.

JK recommended me about the lovely post with your grandfather, a rounding, thoughtful and reflective post.

We talked about noticing subtleties in my work, … it is really you, authentically you, realising the world is a lesser place, modestly said, putting your work forward is an act of generosity.

Regarding a line in my Dynamic Manifesto about Kinetic Art as forerunner, JK also mentions Guy Brett about him describing early Kinetic Art (1920-1960), this was transnational, over the globe, something dynamic, easy access to materials, gives a freshness, open source technology and open source coding, you can be anywhere to use it.

We really enjoyed these chats and JK foresees a fantastic collection of different elements when it all comes together.