intangible cultural heritage (wikipedia)According to the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, the intangible cultural heritage (ICH) – or living heritage – is the mainspring of our cultural diversity and its maintenance a guarantee for continuing creativity. It is defined as follows:
Intangible Cultural Heritage means the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity. For the purposes of this Convention, consideration will be given solely to such intangible cultural heritage as is compatible with existing international human rights instruments, as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development.
This Convention - like the World Heritage Convention - developed a listing system (Representative list and Endangered list). The Intergovernmental Committee is currently working on criteria and procedures, and first inscriptions will be made in 2008 or 2009.
Friday 27 February 2009
Thursday 26 February 2009
Sunday 22 February 2009
santiago sierra
the body as site for cultural representation.
the artist pays 200 (mainly black) men to get their hair dyed blonde
REMAKE OF "GROUP OF PERSONS FACING THE WALL AND PERSON FACING INTO A CORNER"Lisson Gallery. London, United Kingdom. October 2002 / Turbin Hall, Tate Modern, London, United Kingdom. January 2008
Friday 20 February 2009
toilet and ideology
('semiotic triangle that correlates exactly with levi-strauss'*' )
underlying ideologies
that ditsiguish cultures, (countries etc.)
children of men (slavoj zizek)
focus of film in the background-crucial- to look at thing(issue)(eg. social opression) directly you dont see it.
tension between fore & background. protagonist/plot microcosm for issue.
'fate of the indivual hero becomes a prism in which you see the background more clearly'
theme of infertility describes also spirtitual or social infertility?
*society without history (despair)
works of art deprived of meaning (decontextualised?)
england (britain)-relies on its substance of tradition,meanings (no constitution)- loss of history (context?)
boat-rootless, solution-renewal-cut roots
Thursday 19 February 2009
The Paradox of Choice: Why More is Less Barry schwartz
(04:30) choice of identity, not inherited, change at will
'everyday when you wake up in the morning you have to choose what kind of person you want to be'
Wednesday 18 February 2009
things to watch(to watch list):
The Paradox of Choice: Why More is Less Barry schwartz
Killing Us Softly 3 Advertising's Image of Women
Lectures on Great Social Thinkers - Alan Macfarlane 2001 (search on youtube(start with lecture 1)(9 parts))
The Paradox of Choice: Why More is Less Barry schwartz
Killing Us Softly 3 Advertising's Image of Women
Lectures on Great Social Thinkers - Alan Macfarlane 2001 (search on youtube(start with lecture 1)(9 parts))
Tuesday 3 February 2009
if your lonely, martin creed
If you're lonely...
by martin creed(to avoid confusion)
Work... this is work. This is hard work. Talking about work is work.
Thinking is work. Words are work. Words are things, shapes. It's hard
to compose them, to put them in any kind of order. Words don't add up.
Numbers add up! Things are everywhere. Everything is something,
everything has something, but not everyone has someone. It's hard to
distinguish between things, to separate things. I'm in a soup of
thoughts, feelings and things, and words. Actually, it's more like a
purée... or thick and stiff, like a paté. I'm in a paté and it's hard
to move. It needs a lot of work to get out of it — or to separate it
and find something in it. Thoughts, thoughts, sometimes I want to stop
them, but it's hard to stop them. It's work. Dealing with thoughts,
that's work.
Thoughts, thoughts, don't come! Stop! Please! When you're going to
sleep and you can't stop thinking, thoughts queueing up, that's when
you need drugs — or a notebook.
I want something to ease the pain. I want to get out of my head.
Smoking used to help. For a long time smoking made my life bearable. I
gave up smoking because I couldn't do it enough. I couldn't smoke
enough. It was never enough. I wanted to smoke all the time, to breathe
in all the time, but I couldn't, not in the shower, not when I was
talking, not when I was eating. I wanted something I could do all the
time. Not smoking, that was something I could do all the time.
I am an addict in search of drugs.
Maybe working is trying, and work — the result of work — is everything
that one tries to do. Trying... looking for excitement, or trying to
handle it and use it to get out of the paté. Trying to do things;
talking. Or maybe testing is a good way of putting it: testing things
out. Testing things out by putting things about, and all the time
trying, hoping to be excited, wanting. Wanting is what makes me work:
excitement, desire for something.
Sometimes people say: 'What the fuck do you think you're doing? That's
not art.'
I say: 'Fuck off, assholes!'
Assholes... they are something to get excited about, something to work
for.
Work is a fight against loneliness, against low self esteem, against
depression, and against staying in bed. Sometimes my self esteem is so
low that I cannot reach it even when I'm feeling down.
I want to be on my own, but I don't want to be alone.
Work is everything, I think. Everything is work. Everything that
involves energy, mental or physical. So... everything, apart from being
dead. Living...
I don't know how anyone can do it.
How can anyone get through it?
I can see why people hide.
I can see why people commit suicide.
If you're lonely,
If you're sad,
If you're lovely,
If you're mad,
Then this is for you.
© Martin Creed 2005
Work #470
Work... this is work. This is hard work. Talking about work is work.
Thinking is work. Words are work. Words are things, shapes. It's hard
to compose them, to put them in any kind of order. Words don't add up.
Numbers add up! Things are everywhere. Everything is something,
everything has something, but not everyone has someone. It's hard to
distinguish between things, to separate things. I'm in a soup of
thoughts, feelings and things, and words. Actually, it's more like a
purée... or thick and stiff, like a paté. I'm in a paté and it's hard
to move. It needs a lot of work to get out of it — or to separate it
and find something in it. Thoughts, thoughts, sometimes I want to stop
them, but it's hard to stop them. It's work. Dealing with thoughts,
that's work.
Thoughts, thoughts, don't come! Stop! Please! When you're going to
sleep and you can't stop thinking, thoughts queueing up, that's when
you need drugs — or a notebook.
I want something to ease the pain. I want to get out of my head.
Smoking used to help. For a long time smoking made my life bearable. I
gave up smoking because I couldn't do it enough. I couldn't smoke
enough. It was never enough. I wanted to smoke all the time, to breathe
in all the time, but I couldn't, not in the shower, not when I was
talking, not when I was eating. I wanted something I could do all the
time. Not smoking, that was something I could do all the time.
I am an addict in search of drugs.
Maybe working is trying, and work — the result of work — is everything
that one tries to do. Trying... looking for excitement, or trying to
handle it and use it to get out of the paté. Trying to do things;
talking. Or maybe testing is a good way of putting it: testing things
out. Testing things out by putting things about, and all the time
trying, hoping to be excited, wanting. Wanting is what makes me work:
excitement, desire for something.
Sometimes people say: 'What the fuck do you think you're doing? That's
not art.'
I say: 'Fuck off, assholes!'
Assholes... they are something to get excited about, something to work
for.
Work is a fight against loneliness, against low self esteem, against
depression, and against staying in bed. Sometimes my self esteem is so
low that I cannot reach it even when I'm feeling down.
I want to be on my own, but I don't want to be alone.
Work is everything, I think. Everything is work. Everything that
involves energy, mental or physical. So... everything, apart from being
dead. Living...
I don't know how anyone can do it.
How can anyone get through it?
I can see why people hide.
I can see why people commit suicide.
If you're lonely,
If you're sad,
If you're lovely,
If you're mad,
Then this is for you.
© Martin Creed 2005
Work #470
Monday 2 February 2009
Carey Young/Richard Long
A Line Made by Walking 1967
Photograph and pencil on board
image: 375 x 324 mm
on paper, print
Purchased 1976
P07149
This formative piece was made on one of Long’s journeys to St Martin’s from his home in Bristol. Between hitchhiking lifts, he stopped in a field in Wiltshire where he walked backwards and forwards until the flattened turf caught the sunlight and became visible as a line. He photographed this work, and recorded his physical interventions within the landscape.
Although this artwork underplays the artist’s corporeal presence, it anticipates a widespread interest in performative art practice. This piece demonstrates how Long had already found a visual language for his lifelong concerns with impermanence, motion and relativity.
CAREY YOUNG's
Lines Made by Walking
Louise Menzies
First published in Scape Biennial catalogue , 2006
Experienced as a series of projected 35mm slides unfolding at automated one-second intervals, Lines Made By Walking (2003) reveals the certain actions of an individual amidst a crowd. More specifically, these are the actions of the artist herself walking back and forth as she attempts to crave a line within the space of a crowded strip of commuters in central London. Intentionally recalling Richard Long’s 1967 piece A Line Made By Walking, Young inserts in our memories the politicised acts of the neo avant-garde, while suggesting how such actions of an individual can still offer a negotiation of space within our late capitalist situation.
Performed in public space, Young’s work sharply sketches the globalised daily reality of the worker and suggests an attempt at updating contemporary relationships between corporate and cultural politics. Dressed in a suit like those around her, in many ways Young is a nameless face in the crowd; collapsing the distances of artist, worker and audience. Over time however, her self-directed and purposeful walking offers us a form of resistance drawn from the very structures it seeks to resist. In place of Long’s flattened grass, we are left with negative urban space.
© Copyright Louise Menzies and Scape Biennial Trust, 2006
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