Re: [-empyre-] what work are women doing now?

"arteonline" <arteonline@arteonline.arq.br> · Thu, 4 Dec 2003 16:53:09 -0200

Hi Judy,

First, thanks for visiting my *NON* Shopping, but it is really only a
message and a joke of end of year. When I mentioned the adress of my URL was
only to identify me. If you are interested I can send other adresses with my
works.

A litle misunderstanding, it was not Lygia Pape who did interactive works in
1959. It was Lygia Clark. The works, which are called "Bichos" (Animals),
are a kind of metal sculptures that are moved by the spectator. About this
work Lygia wrote (more less):

"I started the 'Bicho' in fifty and nine, it was the beginning of  the
problem of the 'participation of the spectator in the work of art'. When
they asked me how many positions the "Bicho" can do, I answered: _ I do not
know, you do not know, but it knows. It was the first time that I let the
habit of want to be the biggest.* "

* this last sentence is a reference to the artist as the one responsible for
the creation. Artist as a God.

"The last 'Bicho' which I did was a 'Trepante' (Crawler), of rubber, in
1964. Anyway, it was very interesting, because I did it, I carried it to the
Mário's* Home and played in the ground. Mário kicked the work  and talked:
'"Finally I can kick a work of art'. I loved that."

* Mario Pedrosa, a brazilian art critic

After this she continued to do interactive work, but sometimes she was
completely worried about this:

"I see in the future the crowd of the victorious anonyms moving over
artist's body. I do not say this only  for my person but because all of us.
This artist's dissolution in life, giving to possibility of the anonym
create, is our own death and, how many of us will stand  this identity with
the collective?"

http://www.uol.com.br/bienal/24bienal/nuh/enuhclark01.htm (some images of
Lygia Clark works)

http://www.uol.com.br/bienal/24bienal/nuh/inuhclark02a.htm (a text by Suely
Rolnik)

Yours,

Regina

----- Original Message -----
From: "Judy Malloy" <judymalloy@judymalloy.net>
To: "soft_skinned_space" <empyre@lists.cofa.unsw.edu.au>
Sent: Thursday, December 04, 2003 3:10 PM
Subject: Re: [-empyre-] what work are women doing now?

> Hi Regina,
>
> I particularly enjoyed the non-shopping Santa on your web site!
>
> The book has a chapter by Simone Osthoff: "Brazilian Counterparts: Old
Histories and New Designs
> that covers the work of Jocy de Oliveira,  Sandra Kogut, Rejane Spitz,
Giselle Beiguelman
> and quite a few others.
>
> Lygia Pape is also mentioned. Can you tell something of the interactive
art she did in 1959?
> I don't know about this and would very much like to know more.
>
>
> >have you discovered a feminine
> >language in the artists you analyse in your book? Do you think that the
way
> >man and woman create on the web nowadays is different, depending on the
> >gender?
>
> In the book I tried to give each artist their own voice and to represent a
multiplicity of voices -- particularly
> those who helped shape the field. I wanted to set forth the evidence of
the strong and influential work
> women were doing in the field, in their own words and in the words of
critics and art networkers, such
> as Anna Couey.
>
> I think that it is quite possible that someone who analyized web works
could find some general patterns
> that indicated that men and women approach media art differently, but it
was not what I set out to do.
>
> Best,
> Judy
>
>
> Hello Judy, Melinda and all,
>
> Perhaps you know me, my name is Regina
(<http://arteonline.arq.br>http://arteonline.arq.br). I wrote,
> ten years ago, a thesis about three brazilian artists: Celeida Tostes,
Lygia
> Clark and Lygia Pape. Nowadays only Lygia Pape  is alive.The three built
an
> amazing and interesting work. Lygia Clark is very well known out of
Brazil,
> she did the first interactive work I know in 1959 - she antecipate in her
> writings most of the things which are happening nowadays. Fascinating!
>
> Here in Brazil,  the last century was a century of  the  women's
> participation and the feminine condition has a free flow in the art. The
> important fact of the colection of works I studied is the fact of the
> artists have done through her a double movement: a ticket of the culture
> into nature and a return from nature to  culture. The sensory acquisition
of
> the knowledge is present in their works too. Their works shows a comon
> language which I denominated a feminine language in the art, it means that
> they did not use masculine standards and I think it is very important.
>
> They did not work with computers because they were born in the begining of
> the last century. Perhaps Lygia Pape are using a computer now, but I do
not
> know.
>
> What I would like to know from Judy is, have you discovered a feminine
> language in the artists you analyse in your book? Do you think that the
way
> man and woman create on the web nowadays is different, depending on the
> gender?
>
> Apologies because of my bad English.
>
> Yours,
>
> Regina
>
> ----- Original Message -----
> From: "Melinda Rackham"
<<http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre>melinda at
unsw.edu.au>
> To: "soft_skinned_space"
<<http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre>empyre at
lists.cofa.unsw.edu.au>
> Sent: Wednesday, December 03, 2003 10:09 PM
> Subject: [-empyre-] wot work are women doing now?
>
>
> > judy and all hi
> > great to have you as a guest and  sorry about my late response - im
> > travelling at the moment..
> > the historical aspect of the book is incredibly important as i see so
many
> > histories where women are just erased..or there is  one woman
> reperesenetd..
> > i think we still need to follow the trajectory form  the 70's where
womens
> > work from mainstream art history was uncovered, profiled and
repositioned.
> >
> > my new project follows along form all my other work, exploring the
> > sensoriality and seductiveness of technological scapes   ..its in early
> > conceptual development and looking for funding (aren't we all!!), and
its
> an
> > immersive  3d work called "in.finite" which marries the  infinite and
> > spiritual with the luscious and earthy- like an exquisite Japanese
> > landscape.
> > in.finite is a  multiuser  networked  based 3d scren and projected
scape,
> > with user interaction sensor driven within a contained space so that
human
> > movement  triggers the navigation thru the environment.. (im  toying
with
> OS
> > games engine  but im not sure yet)
> >
> > the  whole space is white as opposed to the black spaces that VR worlds
> At 11:09 AM 12/4/03 +1100, you wrote:
> >judy and all hi
> >great to have you as a guest and  sorry about my late response - im
> >travelling at the moment..
> >the historical aspect of the book is incredibly important as i see so
many
> >histories where women are just erased..or there is  one woman
reperesenetd..
> >i think we still need to follow the trajectory form  the 70's where
womens
> >work from mainstream art history was uncovered, profiled and
repositioned.
> >
> >my new project follows along form all my other work, exploring the
> >sensoriality and seductiveness of technological scapes   ..its in early
> >conceptual development and looking for funding (aren't we all!!), and its
an
> >immersive  3d work called "in.finite" which marries the  infinite and
> >spiritual with the luscious and earthy- like an exquisite Japanese
> >landscape.
> >in.finite is a  multiuser  networked  based 3d scren and projected scape,
> >with user interaction sensor driven within a contained space so that
human
> >movement  triggers the navigation thru the environment.. (im  toying with
OS
> >games engine  but im not sure yet)
> >
> >the  whole space is white as opposed to the black spaces that VR worlds
> >usually are .. so  it could be seen to be meditative, exploring the
> >afterlife or death,  the internal landscape , or just plain old misty
> >crevices in oriental valleys .. its also the energetic electronic glow or
> >the spark that keeps our computers running.. the potentiality of void.  i
> >visualise the space with soft silver and neonesque tones with  organic
> >translucent and permeable inhabitants
> >.. it is  simultaneously macrocosmic and  microbiological and visualises
> >concepts from quantum physics.. and i want it to give a sensory
experience
> >of bathing in space which is what extreme whiteness does..
> > immersion in Marie Antoinette's milk bath perhaps ...
> >
> >it would eb great to hear what others are doing...
> >
> >melinda
> >
> >
> >_______________________________________________
> >empyre forum
> >empyre@lists.cofa.unsw.edu.au
> >http://www.subtle.net/empyre
>
> _______________________________________________
> empyre forum
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
>