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Davidson, Mike Muckerheide dichroic glass , Archival pigment print. Courtesy the artists. How does technology corrupt or enhance our sense of self? Is it superficial to think that we need to return to a simpler, more primitive life in order to fill ourselves with vigor, independence, and creativity? What things will we overlook in our environment if we idealize a life full of technology? What are boundaries?
How is the "traditional" and the "modern" working in dialogue—dialectically? While I'm in Marfa, thinking about these questions, I'll be working on three things: a new solo work for Austin-based pianist Charlie Magnone; a sound installation; and an essay that conflates our cultural construct of wilderness and the intention of environmental art. Erik Deluca, Wilderness More HERE.
Refreshments and snacks as always! You can see examples of their work at: dubbin-davidson. Collaborating since Melissa and Aaron work with a wide range of mediums including photography, video, sound, performance, installation, drawing and sculpture. We first appeared in Africa. But that was a long time ago. Now we live in facilities all over the planet. This time we found ourselves in the deserts of North America. We were living in an establishment that maintains a collection of live specimens.
It was not clear if the premises were used for study, conservation, or display to the public. There were nine of us. Soon we were ninety-six. When there were too many of us to be useful to be conserved, studied and displayed, we were moved. The new area was apparently empty, a wilderness. During certain times of the year, we watched the full moon rise and the sun set in the same moment. We acclimated.
We did not know how long we had been there, exploring miles of terrain, when we began to be struck by bullets. We saw large rockets fly through the sky. One of us was drugged and kidnapped and woke up in an area miles from home. Another was struck by a bullet. Our camouflage and dazzle painted faces were not enough to evade surveillance. We wrote the above text for a film titled Nobody Shoots a Broken Horn which takes place in the Southwest.
In we began an inquiry into the introduction of an exotic species of animal into the New Mexico desert which began in the s. The project is a speculative narrative about hunting, mining, and interstellar observation. This film is one component of a constellation of related works. Our work in Marfa will be an extension and continuation of these projects.
We are very proud to announce a new partnership with The Contemporary Austin starting on June 3rd with curator and writer Jennifer Burris-Staton. Anchoring this discussion is the little-known relationship between composer Richard Maxfield and artist Walter De Maria, whose interventions in the landscape—much like structures in music—examine intersections between constructed systems of mathematical order and natural contingencies of chance and experience.
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Jennifer Burris-Staton current resident presenting her research project to students from les beaux-arts de Nantes and UT Austin. I hope to elucidate moments wherein the mathematical structures of Minimalism coalesce with political and social concerns.
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This research begins by exploring the personal and conceptual relationship between artist Walter De Maria and composer Richard Maxfield, whose work Amazing Grace was the first to mix tape loops from two sources using strategies of phase shifting. Courtesy the Estate of Walter De Maria. The talk will be held at 1 p. His work examines forms generated by the entertainment industry as well as popular science and leisure.
Still from super-8mm black and white, silent film transferred to DVD. Courtesy Galerie Lelong, New York. Refreshments and snacks will await you. From 6pm at Fieldwork: Marfa.
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The weather was nice, people too, landscape were as beautiful as boring, the motel was cheap, the food was simple but appetizing. This must be South West Texas. Followed by Pierre Gaignard's "The land where mountains float", , shot in Terlingua. Off the Radar. Conversation avec Luc Mattenberger. Sarah Burkhalter et Luc Mattenberger. More information here. Opening on December A carcass, bone, marrow, tongue… remnants. A bundle of experiences imbricated into different objects — as if holes wore being bore into things and filled with something that forever changes the original — Like Uranium.
Luc Mattenberger is a Swiss artist who lives and works in Geneva and Berlin.
He works essentially in the field of sculpture and installation. His works explore the multiples convinces between man and machine, with a particular interest for the engine as vector and symbol of power. In Marfa, he will develop Looking for Infinity, a research project initiated in Berlin and that will result in a series of actions performed during his residency period in the desert surrounding Marfa.
To make sure that you can all participate, the application deadline for Fieldwork: Marfa is extended to September 14! What types of attitudes does one need to adopt in order to become financially successful? How do these attitudes then influence how one puts accumulated wealth and power to use? On this note, I explore fantastical scenarios in which private individuals exploit their power for the most absurd ventures. Several of my past works have been influenced by key figures of the Texas oil boom, such as the Hunt family.
My intent for my time in Marfa is to further research the socio-cultural aspects of the petroleum industry in Texas, as well as to simply absorb as many anecdotes and stories that I can through my meetings with people. What interests me ultimately are personal histories, which I rework into the creation of new narratives. Amanda Beech is in Marfa to work on Covenant Transport working title , a new video installation that explores the concepts of de-stabilized locations, the dispossession of freedom and consensus for the future.
Whilst ideas, laws, and theories are invisible to us we know that they affect us as substantial forces in the world. Covenant Transport explores the forces that cut across these registers of thought and matter: when mobility and power are no longer exclusive, the grounds of our beliefs are dislodged and an anarchic world of disorientating equalities demands reorientation and navigation.
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How does this world without ends generate different concepts and contracts for our social and political future? The new Trailer just arrived! Ready to host the students Join us if you're around. The call for application now temporarily closed will be reopened in More information will be released soon.senrei-exorcism.com/images/wife/cell-locate-reviews-redmi-8.php
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Stay Tuned! Opening on Thursday January 14 from 6 to 7. Facebook event HERE. All images here are copyright of Simone Holliger. Image: Erik Deluca. We are very happy to welcome this week our new residents, Melissa Dubbin and Aaron S. For both events: all welcome and drinks after! Her research project is entitled, Phase Shifting: Sound and Space in the s. Photos: Armand Morin. Image: Armand Morin. His video project is entitled: Postcard.
Armand Morin. Excerpt from "Panorama 14", installation, More information here Image. Luc Mattenberger.
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Sullivan, R. Van Atta, C. Viola Srivastava, and E. McKittrick, Leslie S. Abrahams, Christopher T. Clavin, Robert N.