To Me You Are a Work of Artwork (2012)

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To Me You Are a Work of Artwork is our try at telling the story of when the futility of endeavor guide labour collides with the incomprehensible elegant of an infinite universe and the meaninglessness of human existence within the artist’s head- and learn how to ‘deal’ with each realities, figuring out as we do of each. Can the manufacturing of artwork be the technique of which to flee the mundane (labour) and the incomprehensible( the enormity of the cosmos)? Or is it simply one other case of menial labour, going unnoticed within the historic huge, vastness? If the ‘labour’ of making artwork can now be commodified like anything in an industrial society ( The DCA’s funders check with this space of financial exercise because the ‘cultural sector‘) what then for artwork as an escape route from the bodily exertions of labour? This efficiency work tells this story.

‘To Me You Are a Work of Artwork‘ was initially envisaged and ‘commissioned’ as a website particular response to Scott Myles’ exhibition ‘This Manufacturing‘ which ran from the seventh April to the tenth June 2012 at Dundee Up to date Arts, Dundee, Scotland. It sprawled and developed in the end in a three-part efficiency that took within the entirety of the exhibition area, performers and viewers competing for room. The work roughly used the con-current exhibition as a ‘place to begin’ and went on to develop, praise and critique the works within the present by way of its existence.

‘Stabilia‘ was a collection of images Scott Myles included into the exhibition which have been appropriated from forensic documentation of the accidents sustained by one builder, after taking a beating from a spirit stage, from one other.

This was to be our leaping off level: Emilia can be ‘abused’ by her ‘instruments of commerce’- the ballet dancer’s level sneakers.

James ‘abused’ the dancer additional by shouting out accidents in Latin which can be widespread for ballet dancers to maintain of their line of labor, pushed to the bounds by choreographers; Emilia responded bodily to the ‘instructions’ by sudden actions. James was additionally ‘abusing’ the viewers by talking in Latin – medical jargon as a critique of artwork speak, which is just too usually ‘coded’ and troublesome to choose up for the informal outdoors, the sort that will stroll in on an occasion like this within the gallery ( James was an invigilator for the exhibition). With all these ranges of abuse hidden within the strategy of artistic manufacturing, why would anybody need to pursue a profession within the ‘industries’ that need to a sure level changed the ‘conventional’ guide pursuits of a post-industrial metropolis like Dundee?

From this level, we journey by way of speculations of mortality( Emilia wrestling with a survival blanket on the ground) and human futility ( by James falling to make the viewers snicker)These issues have been made clear a speech by James’ character trying to grapple the sheer vastness of the bodily universe, with our inherent impossibility to conceptualise one thing so huge. What’s the human race- what’s our art- in such cosmic infinity? Might the artwork object dwell on after our deaths for its creator? James’ character – the ‘professor’ – appeared to assume so. For the scientist, artist rearrange molecules in bizarre collections that we name ‘artwork objects’ that appear to interrupt the second regulation of thermodynamics by giving extra power to the viewer than they’ve in themselves.

The efficiency culminated within the ‘regression’ of the artwork object(Emilia) again into the topic ( performer) The final half broke fully from the exhibition. It wasn’t a response however extra a full-stop for our personal work. Beside Scott Myles’ solid, a concrete Dundonian Tenement solid bay window, Emilia performs topless- as if in her personal personal world, in her own residence. We- the viewers are requested to see by way of into the personal world of the artwork performer. In that act of voyuerism, we flip the topic again into an object; there isn’t a escaping this problematic dialectic that the performer is each an object and a topic. For each doable street to liberation, lies one other that results in a lifeless finish, trapping us, earlier than rising as a topic once more on the curtain name.

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