Below there is a sample composition of rephotographed and scanned portraits of the Re-portrait Yourself work. The piece will show double portraits and they will present two colour spectrums ‚?? one based on the low quality re-photographing and another relied on the scanned output. Both versions are printed on the portable Polaroid printer with a Zink technology ‚?? no ink just crystals.
On 14th May I do a project based on re-photographing portraits called Re-portrait Yourself. You are very welcome to contribute by coming over to the X Marks The B??kship but if you can not make it you can still be a part of it by sending a scan of your photo from the following sources:¬† passport, ID cards, driving license or diploma or any kind of certificate. Please e-mail your photos to: email@example.com Below there is more details about the project.
Saturday14 May 2011, 2pm – 8pm
Visual flow coordinated by Waldemar Pranckiewicz
One big collective portrait will be created on Saturday 14 May at X Marks The B??kship. The Re-portrait Yourself event is about appropriating existing photographs from various documents and creating a new photographic work out of them.
Everybody is welcome to participate – all you need to do is bring a photograph of yourself, a partner or friend.¬† This photograph should be taken from the following sources:¬† passport, ID cards, driving license or diploma or any kind of certificate.
The photograph you submit will be re-photographed using a low quality mobile phone camera. It will then be printed out and used to create a spatial catalogue out of all re-photographed portraits.
The Re-portrait Yourself project focuses on portraits of yourself taken by others (or by an automated photo booth) which have then been used to represent you in your official documents. The more images you provide the better. Images of you taken in different periods of your life are also welcome.
(Please be aware that results of your participation could be used in the future projects or public presentations.)
Textual interaction by Waldemar Pranckiewicz
Thursday, 5th May 2011, 3pm ‚?? 9pm
Over a 6 hour period on Thursday 5th May you are invited to pop in to the X Marks The B??kship at anytime to take part in the following scenario:
1. Create a sentence out of provided text material
2. Use a mobile phone to text the sentence to a chosen person/persons using the prefix: ‚??Please Respond:[your sentence]‚??
3. Stick the sentence to the paper provided and write down any response that you receive.
The scenario, materials and any technical assistance are given ‚?? you perform a textual exchange. Every topic, name and comment written down, texted or forward is accepted. (Please be aware that results of your participation could be used in the future projects or public presentations.)
A few images of my piece at the group show Private Spaces hosted by Zoe’s Place from 13th to 17th April 2011. A bit more about the show in this interview. My work, called Write & Fold & Secret, was made of a notebook where you could leave a message to me and the cards with a website address. The message on the photos below is the only one I am aware of – it was read to me and then I decide to take picture of it.
Get involved with the project based on Douglas Huebler’s Variable Piece #4 (1969).
Send a short secret – an authentic personal secret you have never revealed before, please do not sign it.
– Use your native or English language
– Mind that all secrets will be published online or printed-out at some point but all of course will stay anonymous.
Please visit the website to send your secret & get one previously submitted:
Catch the statement ‚?? Discussing/writing artists’ statements
A meeting will start with 2 quotes from Martin Kippenberger’s (1953-1997):
“I am rather like a travelling salesman. I deal in ideas. I do much more for people than just paint them pictures.”
“I’m not a ‘real’ painter, nor a ‘real’ sculptor; I only look at all that from the outside and sometimes try my hand at it, trying to add my own particular spice. I’m not interested in provoking people, but only in trying to be consoling. I always think of the things I do, quite unambiguously, as truly living vehicles. Assuming roles is something that simply won’t work for me, since I don’t have a style. None at all. My style is where you see the individual and where a personality is communicated through actions, decisions, single objects and facts, where the whole draws together to form a history”.
A few more examples of statements from other artists will follow, then a discussion about them and writing down your own statements. Photocopies of presented statements will be provided. All will take approx. 30 min.
Variable words about Douglas Huebler
A talk at Really Free School¬† 18 Feb 2011¬† 5pm¬† 34-35 Fitzroy Square¬† London
Douglas Huebler has been on my radar since 2008. From that year I try to trace his publications or see his works. It is not easy task, he is not as much popular as other Conceptual artists- at least I got this impression. There is interesting essay about him written by a fellow student of him and artist Mike Kelley called Shall We Kill Daddy? In that text written in 1997 there is a part: ‚??In much of Huebler’s early work there had been a tension between surface blandness and infinite meaning. Take for example Duration Piece #2, Paris, 1970, where the viewer is presented with six snapshots said to illustrate the ‚??timeless serenity‚?? of a statue seen in the distance behind some cement trucks. The accompanying text informs us of the mechanistic intervals at which the statue was photographed, but also tells us that the photos have been shuffled so they are chronologically out of sequence. No longer reportage, we are instead presented with time scrambled – which produces, I suppose, the statue’s ‚??timeless serenity‚??.‚?Ě [Read full text here]
Huebler is important for my practise and to be precise all his works where he combines photography and text. He is an artist with an interest in humans, in fellow people and there is space for fun in his works too. Bellow I attach one of his works and here‚??s a picture with more works, bio info and bibliography. [Images from the book: Douglas Huebler, Camden Arts Centre, 2002]
Following elements were used to reconfigure the spam: a spambook, a colourful board, an assistant and participants. The reconfiguration is based partly on interaction with the spambook- a unique printout of 20 pages of spams from e-mails, the Internet comments, computer games scripts and scrambled extracts from stories. Everything is mashed up and edited to the one long stream. The each line of the spambook is cut to a stripe and everybody can randomly draw one or two fragments of that content and create their own configuration. The spambook content was initially described as a poetic spam and surely it can be seen that way but it can be called as well a stream of desires and statements.
Because the spambook is made of stripes the page by page reading is impossible and only a vertical reading can be applied. It means that reading cuts through a pile of strips and it is fragmented to lines without the beginning and the end. Reading becomes scanning the chunks of sentences.
There is an interesting poetry book by Raymond Queneau called Cent Mille Milliards de Po?®mes (Hundred Thousand Billion Poems, 1961). The book contains a set of 10 sonnets, each on a page split into 14 strips. The main idea behind the book is that any lines from a particular sonnet can be combined with any other line from the nine others and according to the author it would take approximately 200 million years to read all possible combinations. In the same way the spambook offers unlimited combinations of reading but it is addressing as well the content control aspect which shifts between the author and participants. Firstly, the artist is collecting a spam, the Internet comments and scrambled literature. Spam, comments and game scripts are written by others, while scrambled literature is more deliberate act of using a specific genre ‚?? in this case a short extracts from stories by SF author P.K Dick. His sentences have been scrambled using specific computer scripts and integrated very well with a spam oddity and game scripts. So there‚??s this content already somewhere but it is edited, re-wrote and designed into a publication – the object to be perform. Then participants work on the spambook, the collective performing on the spam takes place. The content is tearing up bit by bit and individual forms of spam poetry popping out. But then again that process is mediated by an assistant – Greasy Practitioner – dressed in a suit, in a mode of mathematician experimenting with a colour algorithms, he is taking over that content when is ready and arranging into the mosaic like board. At this point nothing can be edited but still a formal shape of the poems can be created, the assistant is proposing his own visual structures out of someone‚??s spam poetry. At some point performing stops and the board presents a certain flux of poetry but only for a moment, since the board is made of 24 pieces and they all are taken apart. In the end there is this collection of 24 sheets of paper where some sentences are intact but many are broken because they run over a few sheets. Deconstructed board becomes a collection of loose, random compositions which either can be seen as a full stop or a door to somewhere else.
Data about the project:
The Spambook is set in Segoe UI – a sans-serif typeface developed in 2004 and used in many Microsoft products for user interface text, as well as for some online user assistance material, designed to improve the consistency in how users see all text across all languages. Round shapes characterize the type and gave a very friendly feeling. The corporate branding and the online usage made it probably more present in a digital form than printed materials.
The Spambook has 20 pages, each with 32 lines and in total there were 640 text strips (Obviously now there is less of them but this is difficult to pinpoint).
The composed spam poetry was stick to the paper board made of 24 sheets in 3 colours- red, orange and cyan. The board had a size approx 60 cm x 160 cm.
Performing with the book and the board took approx 4 hours on 28th and 29th January 2011 in London and happen during the event Beyond Text: Making and Unmaking Text.
An assistant of the project, explaining rules and performing transition of the poems to the board was Greasy Practitioner ‚?? a performative character being developed by Waldemar Pranckiewicz, acted by the artist or any other appropriate female or male individual if necessary.