[-empyre-] always negotiating

[Renate Ferro]

>
> <snip.... But we want to impress the sensuous over the theoretical,
> the making and doing rather than get involved in French politics...snip
>
>
Dear all,
As an artist and curator I am not so much interested in isolating out the
practical, the theoretical/philosophical, or the the political.  I am much
more interested in  the possibilities that exist in negotiating between
those factors and any others that may come up.  As an artist I am involved
in the negotiating between variations of  the material and the immaterial,
the visual and the synaesthetic, the private and the public, the cultural
and the political, not setting these delineations up as dichotomies but
finding the nuanced gestural, performative spaces between them.

Recently I have been influenced by our recent guests, Kevin Hamilton <
https://lists.cofa.unsw.edu.au/pipermail/empyre/2009-May/001613.html> who
identifies himself as a researcher and Erin Manning  <
https://lists.cofa.unsw.edu.au/pipermail/empyre/2009-May/001613.html> who
characterizes her process as research-creation. These two artists and others
while being influenced by models in Science and Technology also are
influenced by philosophy and language based models. Additionally the work of
(also guests on empyre)  Millie Chen <
https://lists.cofa.unsw.edu.au/pipermail/empyre/2009-May/001613.html>,
Ricardo Dominguez, and Teddy Cruz whose practices integrate social
responsibility, culture, and politics into the core of their
practice/production.

 I am troubled at this time that we attempt to  separate out these paradigms
by privileging one over the rest.  Would you agree that there is always a
negotiation in the process of art making? More a little later.  Renate
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