another essay....
Groan... I've been up for about 19 or so hours now. Fucking all nighters. Fucking essays! It's more or less done. If anyone happens to be around and amazingly bored for the next 4 hours I suggest you read the essay and tell me what it's like. Just ignore the last two paragraphs... I can't type coherent sentences ay longer and I think it's utter bullshit. Plus I ran out of subject matter to write about. Ugh
Essay topic was that I write about two artworks form an exbit and relate it back to the quote that's on the top line of my essay.
1927 words.
The following quote below encapsulates a myriad of issues which arise from the notion of identity
I do not accept that anyone is permanently fixed in his or her 'identity': but neither can one shed specific structures of race and culture, class and cast, gender and sexuality, environment and history1.
However it does not offer any explanation or definitive term with which to understand such a complex notion as what 'identity' is. As the quote mentions, varying factors impact our individuality as it is part of the great Post-Modern discourse2. No particular view of the world is ever given and issues such as identity are left for one’s own interpretations. This can be seen through the fact that not only are issues of class and gender important to differing degrees, there are many other influences still. Yet identity on an individualistic level does not hold as much weight as cultural identity in general. Our society, our cultural heritage, defines us in a far more substantial way. This stems from an individuals need to belong, being able to be apart of something much greater than themselves. Culture isn't impervious to outside influences though. There are many components that constitute and govern cultural development; history being an important part of this process. The past molds and determines the future. It is important to keep the bigger picture in mind. Issues of identity are like fractal art3. The smallest parts must be viewed together as a whole picture to get a sense of shape. And yet fractal art is almost infinite. Even the smallest piece is comprised of still smaller pieces. In this way history can be and is still impacted by the actions of a single individual, who in turn is influenced by some other aspect of society and so on. The Zones of Contact exhibition did an excellent job at voicing the individuals thoughts and illustrating how they have been shaped by their culture and the world as a whole. I particularly chose works by Tabaimo and Mamma Andersson for these traits. Both womens works are vastly different from one another but deal with the aforementioned subjects of the broader ideas of identity versus the individuals view.
To understand Tabaimo's work better an analysis is required. The video installation; Hanabi-ra, is infused with Tabaimo's own individual views, comments and observations of her culture and society. Through just a glimpse at the video installation the viewer can instantly tell that the piece possesses an Asian influence. Hanabi-ra4 delivers exactly what the title promises. The video opens with a flock of black birds flying across a black screen and introducing the viewer to a back-view of an animated standing man. Flower tattoos decorate his body much in the style of traditional ukiyo-e5 woodblock prints. Butterflies and bees serenely float about and even a carp swims across the body, interacting with the flowers. All the while the petals of the flowers keep falling and events like the carp and a stray bird knock down a few more of the flowers. Once the body is free of all flora it begins to wilt and disintegrate only to reveal that the body itself was made of nothing more than paper. This can be observed in the way the pieces curl up when they have accumulated on the ground. To someone who is unfamiliar with Tabaimo's work and Japanese culture in general it can certainly appear like a very tranquil piece filled with a tint of melancholy. Nevertheless Tabaimo's work is a pensive reflection upon Japanese culture. Her concerns are about a loss of realism.
There are many Japanese who feel so strongly for manga6 and anime7 characters that they lose all awareness that what they are reading is purely unreal. This is particularly the case with people of my generation and the generation after mine.8
Tabaimo, as well as other Japaneses artists like Takashi Murakami, firmly believe that Japaneses culture, and subsequently its people, have been stripped of their sense of reality. Tabaimo is known for incorporating dark, horrific materials into her works. Hanabi-ra exudes a sense of peace and gentleness on the surface. But that is all it is, a facade. The petals which fall softly can represent Japaneses culture being stripped of its identity. The flowers falling apart seem to be forced. There is no hint of a natural process taking place ie; decay. A cynical piece of social commentary on Tabaimo's behalf. Hanabi-ra is flat and lacks substance, much like Japaneses culture. The point of the body falling apart at the end of the video and turning into nothing but sheets of paper highlight this. One of the main advocates for the belief that the culture is superficial and fake is Takashi Murakami. Both these artists understand the history of their people, having been brought up in post-war Japan. Their culture is a prime example of how historical events can shape and alter an entire societies identity. The war traumatised Japaneses society and while reform into an Industrial nation took place Japan “was wrestling with a sense of self-identity...”9. Looking upon the Japaneses culture now it is saturated with brightly coloured characters which have no basis in reality. They are defined by their highly exaggerated facial features and bodies. Murakami exploits this obsession by having created his own stream of bizarre characters, and pushes the boundaries of Pop Art. It is a serious parody. Serious in the sense that the Japaneses people are accepting his characters, and a parody because it is a social outcry against this new-found culture of the cute and flat meaninglessness, which Tabaimo also protests against.
Its a social phenomena that results in certain problems. On the other hand it has yielded a new world in the spaces between the real and the unreal. That's because of the sense of ambiguity that's particular to Japaneses culture.10
The concept of a definitive space existing between the real and unreal certainly lends itself to conflicting imagery, not dissimilar to the overall ambiance Mamma Anderssons paintings contain. “Her works end up in a poetic zone between dream and reality.”11 This quote is an accurate interpretation of her works. In Nordic Pavillion the warm comfort of the depicted room is juxtaposed with an intense feeling of solidarity caused by the dark aura around the sole figure. The painting has a distinctive atmosphere and foreign appearance due to the architecture. It is a homely room with ample space being represented. A certain quality about the illusion of wood being created adds to the impression of a warm and welcoming place And yet the gentle washes that create the figure sitting there, weaving a tapestry, is unsettling. The figure has a ghostly appearance due to the painting being filled with hard vertical and horizontal lines. The slight curves and softness of the coloures enveloping the person adds an uneasy tension to what should be a relaxing scene. Mamma Anderssons work is often linked with many vivid and imaginative words, all of which invoke something fundamentally dreamlike and surreal. Something hard to define but irrepressibly there, is within her works which point towards her Northern European heritage. Mamma Andersson infused some of her own identify into the work and yet it feels like the ghostly shape in the painting is lacking of one. Mamma Anderssons paintings are very much like a story. Where the viewer has to search the depth of the painting for clues to further the story. There is no pre-determined outcome for the story which is the Nordic Pavillion. Each viewer will draw their own conclusions, which stem from their general knowledge as well as how they perceive the world. This is part of the post-modern discourse.
I think I know now that my mind creates the world. Reality does not flow into me; reality is born in me every second... Reality is what my consciousness evokes.12
In Japaneses culture reality is desperately run away from, while in the world Mamma Andersson envisions the reality seems one steeped in myth and fantasy through the atmosphere she creates. In both cases an alternate reality is created, as substitute for the real world. Both works are fundamentally different but conceptual parallels can be drawn. Both pieces utilise subtle tactics to get their thoughts on identity across. Nordic Pavillion is effective because of its broad application as it focuses on individual needs. Just like the imagery it displays its content is of an intimate nature and is best left for one on one viewing. Hanabi-ra's subject matter is very broad, in contrast and is also not truly designed for viewing to anyone not part of the Japaneses culture, as its true intent might go unnoticed otherwise. Noting what audience both pieces are for causes an interesting conundrum. Nordic Pavillion, the work which is more personal and far more likely to fall into the post-modern discourse, is far more likely to be viewed and understood by a wide range of people, while a work like hanabi-ra, which has large political and social issues behind it narrows its field of distribution because it is only meant to be fully understood for a specific set of people.
Ultimately, though, the scenes of quotidian horror in Tabaimo's work not only detail how we have become the architects of our own destruction, they also serve as the impetus for our awakening.13
Clearly the issue is with the perception of reality itself and whether anything artists like Tabaimo and Mamma Andersson create can have any meaning or impact in the post-modern world. This is the artists playground. A place of absolute freedom It must be stated that an artists role in the world is significant because of the act of creation. In a world with such loose and boundless notions it is vital for artists to keep challenging global perceptions as well as pursuing and constantly readdressing and re-evaluating issues. Very much like Tabaimo's concern for where her country is heading. I would like to reassess the claim that a general cultural identity is more substantial than an individuals struggle with coming to terms with ones position in the world and within oneself. Nordic Pavillion may not have conceptually have dealt with a cultural and historical tragedy like Hanabi-ra but the issues of isolation and a personal journey through her paintings to come to an end where there is an identity found. As mentioned it can even have more of an impact on a one on one basis than Tabaimo's more culturally driven issues.
Fook it's cold.
Ili off to bed for four hours. And then back to essay which is due at 12pm today.
I don't like Noelene. Any other lecturer you can hand stuff in till 4pm on the day it's due.
Ok shutting up and shuffling off to sleep land!
Essay topic was that I write about two artworks form an exbit and relate it back to the quote that's on the top line of my essay.
1927 words.
The following quote below encapsulates a myriad of issues which arise from the notion of identity
I do not accept that anyone is permanently fixed in his or her 'identity': but neither can one shed specific structures of race and culture, class and cast, gender and sexuality, environment and history1.
However it does not offer any explanation or definitive term with which to understand such a complex notion as what 'identity' is. As the quote mentions, varying factors impact our individuality as it is part of the great Post-Modern discourse2. No particular view of the world is ever given and issues such as identity are left for one’s own interpretations. This can be seen through the fact that not only are issues of class and gender important to differing degrees, there are many other influences still. Yet identity on an individualistic level does not hold as much weight as cultural identity in general. Our society, our cultural heritage, defines us in a far more substantial way. This stems from an individuals need to belong, being able to be apart of something much greater than themselves. Culture isn't impervious to outside influences though. There are many components that constitute and govern cultural development; history being an important part of this process. The past molds and determines the future. It is important to keep the bigger picture in mind. Issues of identity are like fractal art3. The smallest parts must be viewed together as a whole picture to get a sense of shape. And yet fractal art is almost infinite. Even the smallest piece is comprised of still smaller pieces. In this way history can be and is still impacted by the actions of a single individual, who in turn is influenced by some other aspect of society and so on. The Zones of Contact exhibition did an excellent job at voicing the individuals thoughts and illustrating how they have been shaped by their culture and the world as a whole. I particularly chose works by Tabaimo and Mamma Andersson for these traits. Both womens works are vastly different from one another but deal with the aforementioned subjects of the broader ideas of identity versus the individuals view.
To understand Tabaimo's work better an analysis is required. The video installation; Hanabi-ra, is infused with Tabaimo's own individual views, comments and observations of her culture and society. Through just a glimpse at the video installation the viewer can instantly tell that the piece possesses an Asian influence. Hanabi-ra4 delivers exactly what the title promises. The video opens with a flock of black birds flying across a black screen and introducing the viewer to a back-view of an animated standing man. Flower tattoos decorate his body much in the style of traditional ukiyo-e5 woodblock prints. Butterflies and bees serenely float about and even a carp swims across the body, interacting with the flowers. All the while the petals of the flowers keep falling and events like the carp and a stray bird knock down a few more of the flowers. Once the body is free of all flora it begins to wilt and disintegrate only to reveal that the body itself was made of nothing more than paper. This can be observed in the way the pieces curl up when they have accumulated on the ground. To someone who is unfamiliar with Tabaimo's work and Japanese culture in general it can certainly appear like a very tranquil piece filled with a tint of melancholy. Nevertheless Tabaimo's work is a pensive reflection upon Japanese culture. Her concerns are about a loss of realism.
There are many Japanese who feel so strongly for manga6 and anime7 characters that they lose all awareness that what they are reading is purely unreal. This is particularly the case with people of my generation and the generation after mine.8
Tabaimo, as well as other Japaneses artists like Takashi Murakami, firmly believe that Japaneses culture, and subsequently its people, have been stripped of their sense of reality. Tabaimo is known for incorporating dark, horrific materials into her works. Hanabi-ra exudes a sense of peace and gentleness on the surface. But that is all it is, a facade. The petals which fall softly can represent Japaneses culture being stripped of its identity. The flowers falling apart seem to be forced. There is no hint of a natural process taking place ie; decay. A cynical piece of social commentary on Tabaimo's behalf. Hanabi-ra is flat and lacks substance, much like Japaneses culture. The point of the body falling apart at the end of the video and turning into nothing but sheets of paper highlight this. One of the main advocates for the belief that the culture is superficial and fake is Takashi Murakami. Both these artists understand the history of their people, having been brought up in post-war Japan. Their culture is a prime example of how historical events can shape and alter an entire societies identity. The war traumatised Japaneses society and while reform into an Industrial nation took place Japan “was wrestling with a sense of self-identity...”9. Looking upon the Japaneses culture now it is saturated with brightly coloured characters which have no basis in reality. They are defined by their highly exaggerated facial features and bodies. Murakami exploits this obsession by having created his own stream of bizarre characters, and pushes the boundaries of Pop Art. It is a serious parody. Serious in the sense that the Japaneses people are accepting his characters, and a parody because it is a social outcry against this new-found culture of the cute and flat meaninglessness, which Tabaimo also protests against.
Its a social phenomena that results in certain problems. On the other hand it has yielded a new world in the spaces between the real and the unreal. That's because of the sense of ambiguity that's particular to Japaneses culture.10
The concept of a definitive space existing between the real and unreal certainly lends itself to conflicting imagery, not dissimilar to the overall ambiance Mamma Anderssons paintings contain. “Her works end up in a poetic zone between dream and reality.”11 This quote is an accurate interpretation of her works. In Nordic Pavillion the warm comfort of the depicted room is juxtaposed with an intense feeling of solidarity caused by the dark aura around the sole figure. The painting has a distinctive atmosphere and foreign appearance due to the architecture. It is a homely room with ample space being represented. A certain quality about the illusion of wood being created adds to the impression of a warm and welcoming place And yet the gentle washes that create the figure sitting there, weaving a tapestry, is unsettling. The figure has a ghostly appearance due to the painting being filled with hard vertical and horizontal lines. The slight curves and softness of the coloures enveloping the person adds an uneasy tension to what should be a relaxing scene. Mamma Anderssons work is often linked with many vivid and imaginative words, all of which invoke something fundamentally dreamlike and surreal. Something hard to define but irrepressibly there, is within her works which point towards her Northern European heritage. Mamma Andersson infused some of her own identify into the work and yet it feels like the ghostly shape in the painting is lacking of one. Mamma Anderssons paintings are very much like a story. Where the viewer has to search the depth of the painting for clues to further the story. There is no pre-determined outcome for the story which is the Nordic Pavillion. Each viewer will draw their own conclusions, which stem from their general knowledge as well as how they perceive the world. This is part of the post-modern discourse.
I think I know now that my mind creates the world. Reality does not flow into me; reality is born in me every second... Reality is what my consciousness evokes.12
In Japaneses culture reality is desperately run away from, while in the world Mamma Andersson envisions the reality seems one steeped in myth and fantasy through the atmosphere she creates. In both cases an alternate reality is created, as substitute for the real world. Both works are fundamentally different but conceptual parallels can be drawn. Both pieces utilise subtle tactics to get their thoughts on identity across. Nordic Pavillion is effective because of its broad application as it focuses on individual needs. Just like the imagery it displays its content is of an intimate nature and is best left for one on one viewing. Hanabi-ra's subject matter is very broad, in contrast and is also not truly designed for viewing to anyone not part of the Japaneses culture, as its true intent might go unnoticed otherwise. Noting what audience both pieces are for causes an interesting conundrum. Nordic Pavillion, the work which is more personal and far more likely to fall into the post-modern discourse, is far more likely to be viewed and understood by a wide range of people, while a work like hanabi-ra, which has large political and social issues behind it narrows its field of distribution because it is only meant to be fully understood for a specific set of people.
Ultimately, though, the scenes of quotidian horror in Tabaimo's work not only detail how we have become the architects of our own destruction, they also serve as the impetus for our awakening.13
Clearly the issue is with the perception of reality itself and whether anything artists like Tabaimo and Mamma Andersson create can have any meaning or impact in the post-modern world. This is the artists playground. A place of absolute freedom It must be stated that an artists role in the world is significant because of the act of creation. In a world with such loose and boundless notions it is vital for artists to keep challenging global perceptions as well as pursuing and constantly readdressing and re-evaluating issues. Very much like Tabaimo's concern for where her country is heading. I would like to reassess the claim that a general cultural identity is more substantial than an individuals struggle with coming to terms with ones position in the world and within oneself. Nordic Pavillion may not have conceptually have dealt with a cultural and historical tragedy like Hanabi-ra but the issues of isolation and a personal journey through her paintings to come to an end where there is an identity found. As mentioned it can even have more of an impact on a one on one basis than Tabaimo's more culturally driven issues.
Fook it's cold.
Ili off to bed for four hours. And then back to essay which is due at 12pm today.
I don't like Noelene. Any other lecturer you can hand stuff in till 4pm on the day it's due.
Ok shutting up and shuffling off to sleep land!