[-empyre-] Thanks but one more thing for Paul: humor/play/irony

Ala Plastica contacto at alaplastica.org.ar
Thu May 23 03:17:48 EST 2013

Littoral Art and Communicative Action 

Littoral Art and Communicative Action traces the development of Bruce Barber's work from the mid-1990s to the present. Through essays, artist's statements, interviews and with a concluding "squat" intervention by Gregory Sholette, the book presents a theoretically sophisticated version of community art that focuses on the practices of gift giving and communicative action as means to foster progressive social and cultural transformation.


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  ----- Original Message ----- 
  From: Ana Valdés 
  To: soft_skinned_space 
  Sent: Wednesday, May 22, 2013 2:06 PM
  Subject: Re: [-empyre-] Thanks but one more thing for Paul: humor/play/irony

  ----------empyre- soft-skinned space----------------------


  I am very happy for Paul, Ricardo and Brookes stories, we are still waiting for Marc Garret to introduce himself and his work with Furtherfield, I am sad twe were never able to get as guests Steve Kurtz to speak about Critical Art Ensemble, for me one of the most succesfull examples of collaboration between different disciplines and workfields.

  We tried also to have sub Rosa, a feminist art collective working in the fields of art and biology, collaborating with other actors to deveil the industry of the transgenetic foods like Monsanto and others.

  In my guest list was also the French group Bureau d'Etudes, http://bureaudetudes.org

  a very interesting group working with cartography and alternative theory.


  On Wed, May 22, 2013 at 1:55 PM, Timothy Conway Murray <tcm1 at cornell.edu> wrote:

    ----------empyre- soft-skinned space----------------------
    Thanks, Paul, for this helpful summary of the PED project.  My recollection of the project is that Millie (if not all of you?) also took it China (was it Shanghai?) and perhaps other venues.  I'm wondering how the different sites might have altered your collective articulation of the project as it initially seems to have been so site specific?

    I think you're right to recommend that artistic/curatorial collaboration works best with a shared sense of process and that it's best to avoid some notion of a fixed outcome.  When Renate and I have worked together, or when I've collaborated with artists on projects centered around the Rose Goldsen Archive for New Media Art, I've found that a shared sense of process often results in the articulation of forms of process or missions.

    This reminds me of Erin's emphasis on Anarchive and the importance of this collaborative concept in another project.  One of the innovative curators of the anarchive has been Anne-Marie Duguet in Paris who collaborative publishing project, Anarchives (taken from Foucault's little chapter on the archive in The Archeology of Knowledge), has brought together coders, artists, designers, and writers for the multimedial DVD-Rom presentation of artistic oeuvres: Muntadas, Michael Snow, Thierry Kuntzel, Jean Otth, and most recently, Fujiko Nakaya.  Particularly with her first CD-Rom with Muntadas, Anne-Marie broke innumerable barriers in holing up artists, programmers, and thinkers in her Paris apartment to articulate the project and produce the first multi-media 'catalogue raisonnée.  What was especially cool about the Muntadas project, "Media, Architecture, Installations" was its breaking of its own mold by capitalizing on group suggestion to embed the CD with a hyperlink that would permit online users to join in the collaborative reevaluation and re-presentation of the work.

    Key to all of Anne-Marie projects is the productivity to shared play and humor,, as many of you know from her 2006 Transmediale exhibition, "Humour."



    Director, Society for the Humanities
    Curator, Rose Goldsen Archive of New Media Art
    Professor of Comparative Literature and English
    A. D. White House
    Cornell University
    Ithaca, New York. 14853

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