I was touring around the net try find some adhesive red film of the type
Iñigo Manglano-Ovalle used the foyer of his(her?) installation at documenta this year. It was amazing stuff, never have I actually felt anything like 'polarized' light before, although I'm not sure that's the correct word for the effect of the red-filtering. It was a blazingly sunny day outside.
I am looking for the film for my own red-filtered daylight work, but my interest is more about the low end of the visible spectrum than the doomsday political cajolery engaged in Manglano-Ovalle's work.
As usual I am making a substantial inquiry into the meaning of technology in this new installation at the Moran Museum. Generally my thesis calls for more methodical and far-reaching examination of the human/social/material factors active in 'new media'. An enquiry into who made the actual pieces of technology I use to make media art is central. Tomorrow I will shoot the construction of a wall by two workers hired by the museum, I will use an actress to represent myself, but still, I can already anticipate the frisson of recognition when the three interlocutors are with me and my cameras in the room, the real intractable destiny of these people tied with mine only for the most whimsical of moments. And then? And then becomes "who they were before they met you" Then it becomes: they might easily have never met you.
Back to the search for the red film, first of all, I found that this film is no joke. It is a serious petro-chemical product created by one of the most violent industries in this world of peace. I visited some sites of local companies who produce similar films where the (necessarily) sterile production facilities are exposed, modern and standardized. I could almost hear the owner of the film factory telling me proudly about the growth of his company, how they are able to produce at international standard now after 30 years of desperate catching up.
Korea wants to be comfortable, petro-chemicals are a good way. Later in the day I was wandering through the Kyobo bookstore looking for some texts to tie the last loose ends of my thesis. There were hundreds of people milling around in the store, but nobody was getting phased. Contentment reigns....and it is nice.
What? would I rather have all these people jostling and shoving each other for crumbs and gristle? No. This is peace. Peace is good. Peace is the only way. The price is incalculable. Is it even worth to begin the tally?
5 comments:
This might be a little irrelevant to your work…but anyways.
“Korea wants to be comfortable” haha.. I like this phrase…for no particular reason. Contentment…actually I don’t sense “contentment” among Korean people. I feel like contentment is something that I witness not often here. Contentment comes when there is relaxation and peace…and Korea is not like that at all. (not in a bad way, but relaxation, peace and 여유…are not defining characteristics for Korean people). Does technology bring contentment? Does artwork bring contentment? Which is more effective?
my instinct is to say gastronomy has the best chance.
you're absolutely right.
inquiries into who actually made the techology (and materials?) that is available for making media art.
do you intend to take a critical stance? what have been your discoveries on the sociopolitical level?
re: Ami
My aim is only critical in as far as it aims to reveal something which is usually glossed over in today's discourse. Why it is glossed over is, I believe, because it is inconvenient. Inconvenience today often means slowing down.
There are all manner of truths and facts which are disregarded in order for society to forge forward, just as in our own lives it is impossible to function if we constantly try to take stock of all that we are. So, I guess there is a political motivation in the choice of what I want to reveal, thought the revelation itself is neutral, since my only aim is to reveal what is already there. (who was talking about Duchamp and selection?)
Regarding discoveries...for one thing, I am happy that my work is relatively understandable to a wide range of people. However, it is not the kind of discourse one usually gets in the art-space, so there is a bit of a disruption. Since the equipment I am using is already 'state of the art' I don't need to make work that simply advertises this.
On reflection, I would think this work belongs more in a philosophical museum than an Art Museum. But, then again, so does a lot of Contemporary Art.
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