In reality, ... [ A Play ]

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After much discussion about yesterday's post, today two young performers from The Theatre of the Actors of Looking respond with a series of tableaux vivant, a play : "In reality, ...".

Staged upon a cube, he plays Ideal Man, she Ideal Woman. They each seek Ideal Other. In addition, each carries an Instrument of the Passion, on this occasion an accordion telescope. Allegorically, this represents the possibility of other sight. Physically, it can be long or short or any length between.

They perform the permutations. By turns, they display to each other and they look at each other. So too with their Instruments, they show and they regard.

In the scene below, Ideal Woman gazes downward though her Instrument - she turns it to enlarge - at the broad end of the fully extended, vertically displayed Instrument of Ideal Man.

(Thanks to Whaley's Card Depot for sponsoring this event at such short notice.)

detail
A Person Looks At A Work Of Art/
someone looks at something ...

LOGOS/HA HA

In reality, ...

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Person(s) regard
A Girl
by Ron Mueck
photo from Melbourne Places

In the Review supplement of the Weekend Australian, Christopher Allen, writes :

... In reality, newborn babies are neither beautiful nor ugly. Their parents don't love them because they are pretty, but because they are the mother and father of this touching, fragile, shapeless creature that has just survived a gruelling journey, perilous to mother and child, into the outside world.

But an image of a newborn the size of a small whale is conspicuously ugly. The very dimensions of the object negate its essential nature, and turn the small and the fragile into the monstrous.

The human body has a proper proportion, at which we respond to it as fully human: as Gulliver's Travels so memorably demonstrated, and as Mueck's models here amply confirm, the oversized is grotesque and the miniature is merely quaint.

But as already suggested, it is more than a matter of mere ugliness. ...


Christopher Allen
LARGER THAN LIFE
Ron Mueck
National Gallery of Victoria until 18 April

Woman On Cube Seeks Ideal Man/Woman
(3 versions)

Person(s) regard
Man On Cube Seeks Ideal Man/Woman

Yesterday upon this square
I saw a babe who wasn't there...

detail
A Person Looks At A Work Of Art/
someone looks at something ...

LOGOS/HA HA

L©G©$/HA HA

This from Luke Slattery in today's The Australian:

THE body established to pay authors for the use of their copyright last year spent more on its own staff -- including more than $350,000 for a chief executive -- than it paid authors and artists directly.

The Copyright Agency Limited was formed in 1989 to raise money from institutions using copyrighted works, such as newspaper articles, photographs and book excerpts, to reward the creators of these works.

But the collection agency last year paid $9.4 million in salaries, compared with a $9.1m direct allocation for authors and artists.

Read full article here

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA

Quels sont les gens qui ont le plus de caractère?

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Dear Constance,

Thank you for your letter and the fruit cake.

Yes, we are all back from the stint at Le Petit Journal.

As well as the usual reportage of Actors of Regard,
our French colleagues have proposed for 2010 that we introduce a Scenes from the Office segment: "...de mettre un visage humain sur le vide", as they put it. So, look forward to that. And, during winter, a Spot the Ball competition.

Best regards,

bL
(Editor)

Quels sont les gens qui ont le plus de caractère?

Ils sont Team bLOGOS/HA HA

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA

Blue Moon Observed

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Tonight, a blue moon.

Inside, we are watching TV : Serena Williams v Justine Hennin in the Womens Tennis Final at Melbourne Park.

During the breaks we go outside to observe the moon's rise.

At the window of the bLOGOS/HA HA Office ...

... our lunatique-in-residence also watches. He sings to the Blue Moon 108 verses of The Title Song :

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA


detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA


detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA

Full Body Scans : A Brief History

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Full Body Scans have figured in popular projection for a long time.

And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.

And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and made themselves aprons.

Genesis 3 : 6-7
King James Bible

Recently there's been a kerfuffle over the proposed introduction of full body security scans at Australian airports.

image courtesy Red Frame Brigade

When we were young, the ads in comic offered that possibility.

Here's an even earlier favorite, an 1880s intimate love-pic.

Rayon X
Mademoiselle, your fiancé has sent his photo.

detail
A Person Looks At A Work Of Art/
someone looks at something ...

LOGOS/HA HA

SCAN ME

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A letter arrives from the USA

SEE ME FEEL ME TOUCH ME SCAN ME

detail
A Person Looks At A Work Of Art/
someone looks at something ...

LOGOS/HA HA

Google looks at ...

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This headline and article scanned from today's Age (Melbourne).

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA

History of The Void ( continued )

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Robert Smithson's depiction of and thoughts about The Museum of the Void (see previous several posts) have disturbed some dust.

The notes below are from 1981. They are first draft jottings about my contribution to Tom McCullough's The First Australian Sculpture Triennial. Set in the rooms and grounds of the then Preston Institute of Technology and La Trobe University, both at Bundoora, this was Tom's attempt to revive and relocate the Mildura Sculpture Triennial model after that event's dramatic demise in 1978.

In the extract above, any nominated ( as "Sculpture") work is regarded, rather than as 'self-contained', as an interdependent detail; and The First Australian Sculpture Triennial is reconceived as The First Australian (dependendent-arising projection-space) Festival.

Below are the two lines that headed page one of that draft. Thus, being at the start, (continued) refers not to something continuing from a previous page but to some grand imaginary-true History of t/The Void project. Immediately upon that follows the rhetorical terminus: WHY MAKE ONE MORE SCULPTURE?

Some of these thoughts found form in a manifesto-like text. Here's a detail of it, about detail :

The full text accompanied 230 culled newspaper images - each of someone looking at something - that were exhibited at Art Projects (566 Lonsdale St, Melbourne) concurrent with the 230 Sculptures installed at Preston and La Trobe.

The text also accompanied a photo of a decisive moment (C-B) in Bourke Street, Melbourne, during Tyre Week (see : Object Names of Time). This was exhibited at Preston-La Trobe as my 1-in-230 parts contribution to the new Sculpture Triennial.

In the exhibition catalog all this was properly assigned to the NONCATEGORISED category.

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA

What's On At The Void (after RS)

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After those "void thoughts" of Robert Smithson in the previous post, here are some recent newspaper advoidisements.
("To the void! To the void!")

Melbourne
(The Ian Potter Centre : NGV Australia)

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA

Brisbane
(Gallery of Modern Art & Queensland Art Gallery)

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA

Canberra
(National Gallery of Australia)

detail
A Person Looks At A Work Of Art/
someone looks at something . . .

LOGOS/HA HA