[-empyre-] Artwork #1: Benjamin Orlow: The Ticket That Exploded

Sun Jul 22 04:17:09 AEST 2018

Hi Daniel,

I just shared "The Ticket That Exploded" on my Facebook Poetry Page (
https://www.facebook.com/groups/255509864471609/ )
What is interesting to me about the video is not its constructio(the
different sections seem to me basically arbitrary, episodic); but the
juiciness of the individual section. The airplane sequence is absolutely
terrifying, and the question remains for me after things "quiet down" is
who took the video since it seems to be taken in real time. The taker of
the video (in that specific sense the artist) seems to be swallowed inside
the event: not looking at (therefore manipulating), but looking "back". An
amazing sequence, how different people react to danger or echoes of danger.
Of course, if you tell me that this entire sequence is not in real time but
a collage (therefore, I am manipulated), then I am utterly fooled; but not
"convinced." That revelation, if true, would weaken the sequence for me,
turning it into "art" in exactly a negative sense.
The nudist scene is delicious, a comedy of manners. I particularly like the
fat guy in the corner taking different poses by shifting the hand he places
on his waist, with hiking/military boots on. Do I hear people laughing
behind the camera?

Ciao,
Murat

On Sat, Jul 21, 2018 at 10:06 AM, Daniel Lichtman <danielp73 at gmail.com>
wrote:

> ----------empyre- soft-skinned space----------------------
> Hi Murat,
> It'd be really interesting to hear your response to some of the artworks!
>
> Best,
> Dan
>
> On Sun, Jul 15, 2018 at 11:51 AM Murat Nemet-Nejat <muratnn at gmail.com>
> wrote:
>
>> ----------empyre- soft-skinned space----------------------
>> Hi Daniel,
>>
>> "For me the most 'utopian' experience I have as an art viewer is the one
>> where I am manipulated into seeing new relationships between forms,
>> materials, categories, languages, etc. And hopefully in ways that trickle
>> (directly or not) into my understanding of the mechanics of some part of
>> culture or society. Hopefully defamiliarizing my relation to what it means
>> to communicate, create, and participate in the social world around me. In
>> my art-viewing (or anything-viewing) experience, this is the broadest
>> possible meaning of the political.
>>
>>
>> Just the act of presenting something as an artwork (a stone, a found
>> video, a painting) "
>>
>> If what you are saying is the ideal way of regarding art, then each work
>> of art can have only one meaning, one way of being experienced, the way the
>> artist has manipulated it. That obviously is not so. That is a sterile way
>> of approaching art.
>>
>> Ciao,
>> Murat
>>
>> On Sat, Jul 14, 2018 at 10:24 PM, Daniel Lichtman <danielp73 at gmail.com>
>> wrote:
>>
>>> ----------empyre- soft-skinned space----------------------
>>> thank you for your response murat!!
>>>
>>> For me the most 'utopian' experience I have as an art viewer is the one
>>> where I am manipulated into seeing new relationships between forms,
>>> materials, categories, languages, etc. And hopefully in ways that trickle
>>> (directly or not) into my understanding of the mechanics of some part of
>>> culture or society. Hopefully defamiliarizing my relation to what it means
>>> to communicate, create, and participate in the social world around me. In
>>> my art-viewing (or anything-viewing) experience, this is the broadest
>>> possible meaning of the political.
>>>
>>>
>>> Just the act of presenting something as an artwork (a stone, a found
>>> video, a painting)
>>>
>>> I often think of the experience of looking at artwork to be centered
>>> around manipulation.
>>>
>>> On Mon, Jul 9, 2018 at 8:08 PM Murat Nemet-Nejat <muratnn at gmail.com>
>>> wrote:
>>>
>>>> ----------empyre- soft-skinned space----------------------
>>>> Hi Daniel,
>>>>
>>>> A found tape also was manipulated when it was made. When we make a
>>>> sentence, we manipulate words. To make a word we manipulate sounds. Film,
>>>> video, photography are language. Languages occur through manipulation. For
>>>> instance, we don't know what stones are saying, feeling, thinking (or if
>>>> they are doing any of this) because we do not experience *their* manipulation.
>>>> It is extremely passive --a state you seem to find utopian. Lack of
>>>> manipulation by one does not liberate that person or animal or thing from
>>>> manipulation, just makes it susceptible to manipulation by others. In my
>>>> view, what is more crucial, an awareness, watchfulness of who is doing the
>>>> manipulation, the processes by which it comes about (in a film or a
>>>> photograph or a piece of art or in a politician or in a discussion like
>>>> here) and make sure that every/multiple forces can enter it. In other
>>>> words, in my view, what is crucial, realistically utopian,so to speak, is
>>>> to prevent manipulation to create closed systems.
>>>>
>>>> Ciao,
>>>> Murat
>>>>
>>>> On Sun, Jul 8, 2018 at 9:53 PM, Aviva Rahmani <ghostnets at ghostnets.com>
>>>> wrote:
>>>>
>>>>> ----------empyre- soft-skinned space----------------------
>>>>> Nude Alpine hikers actually sounds very Swiss.
>>>>>
>>>>> Aviva Rahmani, PhD
>>>>> Follow my work: https://d.rip/aviva
>>>>> www.ghostnets at ghostnets.com <http://www.ghostnets@ghostnets.com>
>>>>> Watch ³Blued Trees²:  https://vimeo.com/135290635
>>>>> www.gulftogulf.org <http://www.gulftogulf.org/>
>>>>>
>>>>>
>>>>>
>>>>> On 7/8/18, 9:52 PM, "Daniel Lichtman" <danielp73 at gmail.com> wrote:
>>>>>
>>>>>     ----------empyre- soft-skinned space----------------------
>>>>>
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