Tatsumi Orimoto In Conversation With Mark Waugh

Saturday 16 October, 2pm
Permanent gallery
20 Bedford Place
Brighton
BN1 2PT
FREE


In this conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi Orimoto’s recent retrospective in the UK which included hundreds of documentary photos and video works of Orimoto’s recorded performances, Orimoto will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

Orimoto lives and works with his mother Odei Orimoto in Kawasaki City, Japan. He has shown extensively in exhibitions and major museums across Asia, Europe, USA, and South America.

This event accompanies Live in Translation by Tatsumi Orimoto: a single billboard poster, at 30 North Road, Brighton, as part of the Brighton Photo Fringe.

www.permanentgallery.com
www.photofringe.org

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This event is kindly supported by Moshi Moshi Brighton.
www.moshibrighton.co.uk

Brighton

Tatsumi Orimoto - Bread Man Talking

The Japan Foundation, London
Russell Square House
10-12 Russell Square
WC1B 5EH

15 October 2010

Tatsumi Orimoto is a leading name in the global performance art scene known for his seemingly bizarre work in which he deals with everyday life, ageing and questions of communication. Orimoto’s persona of Bread Man, whereby he appears with his face obscured by bread, is a clear example of what Orimoto describes as “communication art” and attracts many bewildered and curious looks from passers-by as they are invited to engage in his world.

Together with other works such as the more moving Art Mama, in which his mother who suffers from Alzheimers is the main subject, Orimoto condenses in his work his interpretation of reality and true life by surrounding us with scenes of calculated absurdity and dry humour.

In this illustrated conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi’s recent retrospective in the UK which included hundreds of documentary photos and video works of Tatsumi’s recorded performances, Tatsumi will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

This event offers a very unique recounting of Tatsumi’s highly respected artistic career which spans from the 1970s and has seen him delight and intrigue audiences wherever he goes, from international exhibitions such as Venice Biennale to the streets of London.

www.jpf.org.uk/whatson.php#278

Antti Laitinen - The Bark Boat

Bark Boat by Antti Laitinen from Capsula on Vimeo.

Touch Village

A Foundation Liverpool
67 Greenland Street
Liverpool L1 OBY
Merseyside

9th October 2010

Visitors to the A Foundation on the 9th October were invited to cruise the alleys and windows of Touch Village – an interactive performance installation that explored the possibilities of documenting intimacy and human contact in performance. The village is a web of interactive situations, which leads visitors on their own journey, through which they can explore themselves and the limits of performer-participant relationships.

Touch Village was a curatorial project by Kimbal Bumstead in collaboration with a group of selected interactive artists, Hedva Eltanani, Jack Ridley, Baptiste Croze, Heather Jones, Matthew Kay, Lynn Lu, Richard Taylor, Alexandra Zierle, Paul Carter and The Mysterious DJ Collective.

Touch Village was a durational work, its individual elements unfolding over the course of the evening. Structured around a central installation, seven separate performances proposed intimate situations. The encounters leave traces and products behind which witnessed these shared moments. Visitors to the village were free to explore and participate in the process of touching and being touched. Like all good villages, there was a friendly bar with live music…

www.kimbalbumstead.com
www.zierlecarterliveart.com
www.lynnlu.info
vs4rslab.wordpress.com
www.matthewjameskay.com
www.rich-taylor.co.uk

drawing-paper

www.drawing-paper.tumblr.com

Drawing Paper is a not for profit newspaper based publication concerned solely with drawing.

The purpose of this blog is to function as a supplement to the printed edition. We're keen to make it rich in quality drawing based content so if you've got something interesting you'd like to share with us please send it to something@mikesstudio.co.uk (files should be JPEG's at 72dpi upto 2mb).

Please note, all submissions are subject to editorial control – some work is of more interest to us than others. Please refer to previous posts for an indicator of our preferences.

Drawing Paper was conceived and designed by Mike Carney and Jon Barraclough, Liverpool UK.
www.mikesstudio.co.uk // www.jonbarraclough.co.uk

Drawing Paper 2 has recently been published. If you'd like a copy please send an A4 self addressed envelope with £1.20 second class postage (UK addresses only) to Mike Carney, 26 Moss Street, Garston, Liverpool L19 2NA. If you're overseas please email us your address and send £5 via Paypal to mike@mikesstudio.co.uk

Sally O’Reilly - The Body In Contemporary Art

Although now rather well worn, the phrase ‘the personal is political’ continues to be relevant for contemporary artists, sinse it encapsulates the potential for an individual to represent, by example, such wider issues as cultural difference, historical context, sexual preference, racial differentiation and the transgression of gender roles.p79

Autobiography is a powerful genre for provoking empathy in an audience, and it can provide a direct way of speaking out against objectification and categorization. Autobiography implies an urge to communicate a personal narrative, whose intimacy can at times be shocking, to both productive and damaging ends.p84

The body as a site of common physiological experience makes it an excellent tool for inspiring empathy. While autobiography, as we have seen, can be a way of appealing to our shared biographical or cultural experiences, it is notoriously difficult to pitch: the work must be neither overly didactic or emotive, nor so ambiguous that it is open to misinterpretation.p189-p190

Today[...]this insistence on the artwork as independent and self-contained has been almost entirely replaced by its opposite. Not only is the presence of the audience acknowledged, but the individual’s power to generate meaning is actively encouraged. The image of an impassive audience consuming static art infused with fixed meaning by an authoritative artist has given way to a reciprocal and conditional situation in which ambiguity scuppers meaning, so that the artist, artwork and viewer together negotiate an intellectual and sensory experience.p192,p193

In the West, too, a genre of participatory and socializing art has developed in response to perceived fragmentation within society, as members of communities have withdrawn from one another as a result of complex socio-economic and political factors.p194

Simon Pope holds the view that a person represents an active archive, producing, storing and reproducing information through his or her passage through society and ever-changing relationships with place. A number of his participatory performances recall the ancient connection between walking and remembering.

Sociability as a medium has become entrenched in contemporary practice, although its emergence can be traced further back than one might think. Although the last fifteen years have been identified as the period when relational aesthetics have been identified as the period when relational aesthetics became established, artists were orchestrating situations for social engagement in the 1970s, as in Tom Marioni’s FREE BEER (The Act of Drinking Beer with Friends is the Highest Form of Art) (1970-79)p200 – p202