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Glowlounge: May 2003

Glowlounge - May 2003
Date: 5.28.03
Location: Red & Black, Williamsburg
Speaker: Lee Walton
Participants: Christina Ray, Lori Waxman, Michael Rakowitz, Dave Mandl, Erin Walton, Swoon, Heidi Cody, Javier Pinon
Minutes recorded by: Lori Waxman, Glowlab Editor-at-Large

1) Introduction: Christina explains the purpose of Glowlab Lounge
a) To refine Glowlab
b) To be held every month
c) One artist presenter per Lounge
d) Questions

2) Lee's presentation
a) Drawing as a space issue, and which can thus be applied to a 3D space such as a city
b) Desire to get outside the (drawing) studio
c) How do you make art the thing that gets you to the party? (As opposed to, I'm already at the party so why don't I...)
d) Red Ball Project, San Francisco
i) A project wherein anyone can vote online to help determine where, in SF, a specific red rubber ball will be placed
ii) The vote eventually narrowed down to a particular corner of home plate at Candlestick Park
iii) How do you get access to Fenway? Never say "art" or "internet". Say "school project," "design" or "architecture"
iv) The ball took on a personality, kept people interested, like creating a celebrity
v) Recalls Situationism and the red couch which traveled around the world being photographed in different places (and "Amelie" where the red couch was replaced by a lawn dwarf belonging to the heroine's papa)
e) The City System Project, San Francisco or Anywhere
i) A system or set of rules for getting the player around the city in an unpredictable manner
ii) Forces you to be a flaneur (Situationism, again)
iii) Recalls Vito Acconci's "Following Piece," On Kawara's daily paintings
iv) Your Work = Your Art

3) Experientialism
a) Work that is specifically for experiencing, that is in itself an experience
i) Digression on topic of whether artists do what they like / like what they do, i.e. people who like paintings paint. Group is split
b) Experientialism defined more specifically: to make an experience for the artist and for the viewer(s); work that demands participation and is organic
i) Bookending experience as art
ii) Or, like Dieter Roth, ripping the book ends off and allowing everything to be art
iii) Question about whether (i) and (ii) are really the same thing
c) Lee's projects, in which he sets up a system whereby his art allows him to do things he likes to do, i.e. play golf, while still making art
i) The Golfcourse Project
ii) The Competitionist Project
iii) The Derby Race Project
d) Documentation Part I
i) Documentation can get in the way of experience, as in Lee's City System Projects
ii) Documentation can be part of the experiential work: Michael gives example of design project that uses a branch overlaid over a map of the city to dictate the participant's path, and then requires that some form of original documentation be made

4) Baseball segue and bathroom break

5) Games
a) Types of games: baseball, Christina's card deck, drinking, chess
b) Lee's Ambulatory Gambit, wherein people showed up for an advertised event at a SF park, wherein the ad was not for an art event but for a fun, participatory event
c) Francis Alys' moving mountains project, in which a sand dune in South America was moved 4 inches by a large group of participants
d) Back to documentation, Situationism and the general question of "isms"

6) Documentation Part II
a) Guy Debord quote
b) Callie explains the irony of documenting her hand-made instruments with a $2K video camera
c) Christina explains how her interactions with people and landscapes are not just mediated by but sincerely undertaken via videotaping
d) The fact that Lee is being deliberately recorded by a camera while he is doing summersaults in downtown SF saves him from being mistaken for a schizophrenic
i) Digression about the now commonplace vision of a businessman walking on the street talking to himself (but really into his hands-free cell phone ear piece)
e) Unknown man who for years set up a table and chair on the same street corner with the sign, "What's On Your Mind?"? He never recorded any of what anyone told him
f) Reliance on media as a validation of one's projects. Fear that without documentation (and therefore the proof that you are making art), you are just being a schizo weirdo. But, said the Situationists, you don't have to own what you do
g) Digression: A large potted tree was brought in by bar management through the door nearest us
h) "Immediatism"
i) Walter Banjamin's "aura"? vs. reproduction
ii) Experience vs. documentation
i) Digression: smoke from outside the non-smoking bar enters through the windows

7) Game Over i.e. the secretary leaves

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