Part2_projects

information_part2ordi_exordi

Project Context:

“The everyday is also the home to the bizarre and the mysterious. The commonplaces of existence are filled with strange occurrences” Ben Highmore

As Alchemists believed in the possibility of turning base metal into gold, ar3sts have the power to transform, elevate, transcend, and transubstan4ate. And conversely, to reduce, dis4ll, condense, ra4onalise, mutate and metamorphose.

In this project, you will consider the ordinary, trivial and mundane; the overlooked; the invisible and the accidental. You will examine ways in which ar3s3c interven3ons can elevate the ordinary to the extraordinary, and reduce the extraordinary to the ordinary.

You will examine environments, people and objects that are familiar and unfamiliar; those we take for granted and those that are considered to have a higher value.
The observa3ons you make and your interpreta3on of them will be at the centre of your crea3ve enquiry.

Project Descrip6on:

This is a two-week project. In the first week you will develop a range of ideas and experiments by looking at the rela3onship between the ordinary and the extraordinary. Your responses might be emo3onal; philosophical; physical; conceptual; narra3ve or poli3cal etc.

You will consider a broad range of processes and media in order to realise your experiments and outcomes. You will consider ways in which ar3sts make unique, unrepeatable works, and also ways in which they work with repe44on, collec4ons and mul4ples.

In Week One, you will produce, record and document a range of experimental works.

In Week Two, you will use reflec3on, research and experimenta3on with a range of materials and processes to develop ini3al ideas into a more considered body of work. You may choose to develop one singular work, or work to produce a series or mul6ple. 

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Hito Steyerl, How Not To Be Seen

In her video, ‘How Not To Be Seen,’ Steyerl is again expanding on the theme of how we exist in a world dominated by images and technology. When we go for a stroll to the shops, when we drive around in our cars, there is always the chance we will be snapped in action. Not as the main subject, but as background in someone’s amateur photograph. How Not To Be Seen is, at heart, a satire. Steyerl, with biting humour and superior clarity of thought, shows us how to be invisible in a world increasingly being taken over by digital representations of ourselves and everyone and everything around us. It’s a video that shows us how we exist in a digital bubble – and how we can hide. Impossible task? Maybe.

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Roger Hiorns - Seizure

In 2008 Roger Hiorns, commissioned by Artangel and the Jerwood Charitable Foundation, transformed an empty council flat in Southwark, London, into a sparkling blue environment of copper sulphate crystals. Seizure was created using 75,000 litres of liquid copper sulphate, which was pumped into the former council flat to create a strangely beautiful and somewhat menacing crystalline growth on the walls, floor, ceiling and bath of the abandoned dwelling.

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Grayson Perry - The Vanity of Small Differences

In The Vanity of Small Differences Grayson Perry explores his fascination with taste and the visual story it tells of our interior lives in a series of six tapestries at Victoria Miro and three programmes, All in the Best Possible Taste with Grayson Perry, for Channel 4.  The artist goes on a safari amongst the taste tribes of Britain, to gather inspiration for his artworks, literally weaving the characters he meets into a narrative partly inspired by Hogarth's A Rake's Progress.
Grayson Perry comments: "The tapestries tell the story of class mobility, for I think nothing has as strong an influence on our aesthetic taste as the social class in which we grow up. I am interested in the politics of consumerism and the history of popular design but for this project I focus on the emotional investment we make in the things we choose to live with, wear, eat, read or drive. Class and taste run deep in our character - we care. This emotional charge is what draws me to a subject".

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Dieter Roth - Small Sunset

If Roth was subject to change, so were his works. His artistic styles waxed and waned; they were flexible and unstable, resistant to classification. Each work had a life of its own. Roth’s intention was to make time visible by allowing organic objects to decompose, with no attempt at conservation or intervention. He was also interested in the factor of chance: works were not to be fully controlled by the artist, but to develop according to the conditions under which they were kept. Temperature, humidity, light, and the presence of insects and bacteria would continue to alter the objects after the artist declared them finished. 
One example of this mutability is Small Sunset, begun in 1968—an unlimited series of works that parody a traditionally romantic theme with their decidedly unromantic material. The works—formal compositions of a sunset over the sea—are made of two sheets of paper and a slice of salami. The fat from the salami has slowly soaked into the paper in each case, but, because of the varied conditions in which they were kept, each Small Sunset is now unique. This similarity of origin and evolving difference was a theme that Roth repeated in other series. 

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Rirkrit Tiravanija - the raw and the cooked

Thai artist Rirkrit Tiravanija has an original recipe for success: “I can’t paint,” he said, “but I can cook.”

It’s not still-life, though; the action is elsewhere. For example, on the gallery walls, video monitors show an artisan making a plastic model of Tiravanija’s phad thai, complete with the chopsticks suspended in midair. It looks a lot like he’s cooking. The actions are very methodical and precise: Wind twine around the noodles to hold them upright; harden them with a blast from a heat gun; arrange the fake shrimp; and so on. 

Tiravanija admits that though the video looks like a minor component, he is more interested in the making of the models than in the models themselves. “That’s activity,” he said. “That’s where life is.” 

The collaborative play of day-to-day existence fascinates Tiravanija. “I’m interested in the everyday and how one puts oneself into it,” he said.

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Susan Collis, The Oyster’s Our World

A stepladder. Every gallery should have one, of course. And every studio. And, come to that, every home. So what makes a stepladder worth writing about? Well, of course, you can analyse anything really if you set your mind to it. In the case of this stepladder, the signs are there. The traces of paint suggest it’s reasonably well used but it’s not completely covered in paint the way it would be if constantly in use for decorating. As a gallery step ladder, the odd bit of white paint is to be expected but it’s quite likely that it’s often in use for hanging work so a bit painty but not too painty makes perfect sense.

Susan Collis, The Oyster’s Our World

Susan Collis - Love is A Charm of Powerful Trouble (Detail)

Collis’ work played on the fact of our newly finished gallery; her installation appearing at first glance to be nothing more than the neglected aftermath of a previous show, or the half-finished installation of her own. Only closer scrutiny revealed that the screws ‘left’ in the walls were made of solid gold, their rawl plugs of precious turquoise and coral; that splatters on the dusty and battered broom in the corner had in fact been set with opals and diamonds, and that the white paint spilt on the wooden floorboards was actually inlaid mother of pearl. The age-old trick of trompe l’oeil is not usually employed for such humble things, and the witty poetry in Collis’ work lies in the intense labour expended over many months to craft these precious and beautiful, but ultimately useless objects.

 

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Joseph Beuys - Cuprum 0,3% unguentum metallicum praeparatum

T03825 contains a group of five items. These include, from left to right: an irregular, upright block of wax-like material with an emblematic impression on the forward, exhibited, face. The impression has probably been achieved by a simple direct moulding technique. It is one of two versions of the subject made in 1950-51 and is made half of butter and half of wax. (Tisdall writes that a multiple of this work was subsequently made in 1978 in an edition of 10, entitled Cuprum O.3% Unguentum Metallicum Praeparatum; repr. Caroline Tisdall, Joseph Beuys, exh.cat., Solomon R. Guggenheim Museum, New York 1979, pl.372).

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Tacita Dean - Film 

FILM is an 11-minute silent 35 mm film projected onto a gigantic white monolith standing 13 metres tall at the end of a darkened Turbine Hall. It is the first work in The Unilever Series devoted to the moving image, and celebrates the masterful techniques of analogue filmmaking as opposed to digital. The work evokes the monumental mysterious black monolith from the classic science fiction film 2001: A Space Odyssey. The film feels like a surreal visual poem, including images from the natural world among others, with the epic wall of the Turbine Hall showing through, in a montage of black and white, colour, and hand-tinted film.

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Natascha Sadr Haghighian - de paso 

Only one piece of hand luggage is allowed, it cannot exceed six kilos, it must comply with the company's rules and there will be an extra charge for every additional piece of hold luggage. This is the check-in policy of low-cost air companies. On the gangway that connects the airport to the embarkation gate people do not look at each other, they are too busy minding the trolley bags they carry. The main concern is always the same: board the plane quickly, find a space in the overhead locker not too far from one's seat, stay seated so as to avoid the hassle of other people looking for seats, snuggle into the minimal space provided and forget everything until the plane finally takes off. The ceremony of disembarkation is a similar one, everyone leaves in a hurry anxious to arrive at this famous city, Barcelona, and be able to experience the sun, the tapas, the shops, the beaches… in other words, the city.

During a working session in Berlin, in which the subject of the transformation of the city as a result of German reunification in 1989 was discussed, Haghighian pointed out that, with this pilgrimage of trolleys from the airport to the centre of Barcelona, or to any other tourist destination, we end up feeling that we are all responsible for the system, regardless of the reasons why we happen to be travelling anywhere. Tourists or not, we are all helping to create a curious urban space, where cultural construction and consumerism go hand in hand. In particular, Haghighian refers to the growing number of 'creative'professionals – musicians, architects, designers, etc. – who have to travel for work, or to the artists who decide to go and live in a city without any real prospects, simply because it was until recently one of the cheapest in Europe, and how this creates a constant a flux of people coming and going from the city.

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The Exhibition

By Our Selves

A film by Andrew Kötting & Iain Sinclair

 

Toby Jones, Iain Sinclair and Andrew Kötting (dressed as a Straw Bear), made an eighty mile walk from Epping Forest to Helpston in Northamptonshire, following in the footsteps of the poet John Clare. 

 

Clare's delirious march is the catalyst for the project. A great English pilgrimage and a self-enacted novel in the tradition of Pilgrim's Progress.

The walk was documented using pinhole photography and video and has now been edited to form the backdrop of the installation. The artists Nick Gordon Smith, Anonymous Bosch, Philippe Ciompi and Jem Finer as well as the singer Macgillivray and the musician David Aylward have all collaborated in support of the exhibition as well as Alan Moore and Kötting's daughter Eden who has contributed paintings and text in the guise of Dorothy from The Wizard of Oz.

 

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Georges Perec - Species of Spaces

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The collection of post cards for the first day of the project

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The collection of post cards for the first day of the project

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The collection of post cards for the first day of the project

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A book I read

Sigmund Freud - The Interpretation of Dreams

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An experiment of Photoshop

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An experiment of Photoshop

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Michaël Borremans - Four Fairies 

The painting Four Fairies (2003), which portrays three women and one young girl, dressed and coiffed in the fashion of the 1940s, contemplating the empty space in front of them. They see something, obviously, that we are not privy to. Their patient faces are painted with near-reverent delicacy; their clothes executed with a concentrated, tactile softness. So far, so real; one thing, however, overwhelms the almost photographic realism of their depiction – like Surrealist monuments, the women are oblivious to the fact that they are severed in two and are arranged on a simple dark surface like sick trophies. But of what? Of war? Of our all too human failing to see each other as complete? Or is the painting simply a reiteration of what painting can do – raise fictions from oil paint, which in this case have sprung not yet whole from the medium of their own making? The title of the painting again adds another dimension to its reading. Before the 20th-century fairies were variously perceived as the symbolic leftovers of a displaced people, fallen angels, heathen dead or the unconscious made flesh. In the 19th-century photography propelled them from the imagination of folklorists, dramatists and artists into science’s cold laboratory, where their existence was disproved and so infantilized. In Four Fairies Borremans has, in a sense, resurrected a debilitated symbol to serve its original purpose as a hybrid indicator of dispossession or dislocation. Painted in the manner of an exquisite, antiquated Photorealism, these passive, incomplete women/fairies allude not only to the 20th-century’s state-condoned cruelties but also to the unresolved tension that still exists between photography’s will to truth and the potentially mythic and imaginary dimensions that painting might still explore.

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 Anne Brodie - Bipolar

Artist Anne Brodie took one of the lumps of ice that she had brought back from Antarctica out of its lodgings inside the British Antarctic Surveys freezer in Cambridge and let it not so gently melt over the course of the evening. It was acoustically wired up by sound engineers Lee Patterson and Mark Hornsby, and produced uncomfortably loud interruptions as the ancient air kept locked under pressure by the ice belched into the London air. The cabinet was recycled from an exhibition held in the British museum

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Glen Onwin The Recovery of Dissolved Substances

'The Recovery of Dissolved Substances' is an installation comprising sketches, photographs and a wooden structure. It explores the chemistry, natural history and 'life cycle' of salt. An underground salt room was also made by the artist, and although part of the work, it has only been seen by one or two people and was constructed in an undisclosed location. 'Salt Room/Crystal' consists of three salt-encrusted wooden panels . The lines drawn on the two outer panels refer to the corners of the unseen salt room, and are also reminiscent of the regular, cubic shape of a salt crystal.

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Georgia Russell - Happy Friday 

Russell’s work with books began during an artists’ residency in Paris while she was a student at the Royal College of Art. Old books have always seemed to her like sculptural objects ‘representing the many hands which have held them and the minds they have passed through’. She says that she has always chosen something which ‘holds within it a sense of its own personal history, an object which has a secret life’.

While her works make interesting plays on solids and voids, and seem to imply energetic motions even without the presence of any movement, the final impression her work leaves on the viewer is an awareness of

Her works make interesting plays between solids and voids – implying energetic movement, while at the same time making the viewer aware of the transient quality of a single moment.

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Ian Crowe and Nick Rawlinson - The Carriers’ Prayer

Nick Crowe and Ian Rawlinson’s ‘The Carriers’ Prayer’ is a single-channel video projection that takes its cue from the phenomenon of so-called ‘scally fireworks’. Home-made, rudimentary pyrotechnics formed from coiled-up plastic bags, these humble contraptions are never to be seen at the great social and cultural occasions, and are more likely to be casually, sullenly discharged by larking lads in the empty shells of dilapidated industrial buildings.

In Crowe and Rawlinson’s installation, these rag-tag devices acquire a strangely meditative, almost religious complexion. Huddled together in the half-light of a deserted church, spitting out gobbets of liquid fire while giving off eerie caterwauling noises, the fireworks resemble a communion of lost souls. Ordinarily, each tongue of flame would fall towards the ground, but, here, in a reversal of the natural order, they rise, beseechingly, towards the heavens, as if in an act of collective prayer, before dying away – a violent bang followed by a ghostly whimper.

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Orlan

It was at 15 that she stopped being Mireille Suzanne Francette Porte from Saint-Étienne and was reborn as Orlan, a name freighted with symbolic import. Her subsequent career has been a series of rebirths and triumphs of will over technology. In 1964, she presented a nude photograph of herself, shot from above, giving birth to an androgynous mannequin, entitled Orlan S'Accouche d'Elle M'Aime (a punning French title perhaps best translated as Orlan Gives Birth to Her Beloved Self). She later reinvented herself as a saint, calling her series of performance-surgeries The Reincarnation of Saint-Orlan.
Is it her aim to change the idea of beauty? "I am not sure I can change such a thing, but I can produce images that are different from those we find in comics, video games, magazines and TV shows. There are other ways to think about one's body and one's beauty. If you were to describe me without anyone being able to see me, they would think I am a monster, that I am not fuckable. But if they see me, that could perhaps change."

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Vija Celmins - To Fix The Image In Memory

For this work, Celmins made bronze casts of eleven rocks and then painted the casts to resemble the original stones as closely as possible. In an interview, she recalled, "I got the idea for this piece while walking in northern New Mexico picking up rocks, as people do. I'd bring them home and I kept the good ones. I noticed that I kept a lot that had galaxies on them. I carried them around in the trunk of my car. I put them on window sills. I lined them up. And, finally, they formed a set, a kind of constellation. I developed this desire to try and put them into an art context. Sort of mocking art in a way, but also to affirm the act of making: the act of looking and making as a primal act of art." By having each original rock installed with its duplicate, Celmins invites the viewer to examine them closely: "Part of the experience of exhibiting them together with the real stones," she has said, "was to create a challenge for your eyes. I wanted your eyes to open wider."

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Anya Gallaccio - Beauty

Gallaccio is known for her work with organic materials such as ice, flowers, fruits and sugar. Her installations often change over time as they melt, decompose or sprout new life. In preserve ‘beauty’ 2000 gerberas are sandwiched between huge panes of glass and left to wither and rot. Gallaccio has described gerberas as a ‘disposable commodity’, mass-produced all year round. Her work challenges romantic ideas of nature and culture, life and death. This was first displayed in the window of a London gallery, where it became a metaphor for Gallaccio’s perception of the male-dominated art scene.

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The Holy Thorn Reliquary

This reliquary, with its magnificent vision of the Last Judgment, was made to contain a thorn that the Latin inscription asserts, came originally from the Crown of Thorns placed on Christ's head before the Crucifixion. The Crown of Thorns was brought to Paris from Constantinople by Louis IX of France, who constructed the Sainte-Chapelle in Paris to house it. The Crown was closely associated with the French royal family, and individual thorns were used to make jewels of various kinds.

This reliquary of the Holy Thorn was made for Jean, duke of Berry (1340–1416); two panels on the base are enameled with his arms as used before 1397. He was the third son of Charles V of France and exercised almost sovereign powers in the Berry, with Bourges as its capital. There, next to his palace, he constructed a mortuary chapel modeled on the Sainte-Chapelle in Paris, which was consecrated in 1405. The scale of the reliquary and the sumptuous nature of the gold work, enamel, and jewels emphasize the very personal nature of the reliquary. The belief that the Crown of Thorns was merely on deposit to the realm of France until Christ would claim it back on the day of Judgment may have influenced the choice of subject matter that enshrines the thorn.

It is thought that Jean may have given away this reliquary before 1401, perhaps as one of his étrennes, or New Year's gifts, used to affirm patronage and build ties of allegiance at the Valois court. The reliquary is first recorded in the 1544 inventory of the treasury chapel of the Holy Roman Emperors in Vienna. It remained there until 1860 when it was sent for restoration to Salomon Weininger, who kept the original and returned a replica. The original reliquary was then acquired by Baron Anselm von Rothschild of Vienna before 1873 and passed to his son, Baron Ferdinand de Rothschild, by inheritance. The story of the forgery and substitution was only uncovered in 1925 through the work of Joseph Destrée.

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Captain Provand and Mr Indre Shira - The Brown lady of Raynham Hall

The Brown Lady of Raynham Hall is a ghost, which reportedly haunts Raynham Hall in Norfolk. It became one of the most famous hauntings in Great Britain when photographers from Country Life magazine claimed to have captured its image. The "Brown Lady" is so named because of the brown brocade dress it is claimed she wears.
According to legend, the "Brown Lady of Raynham Hall" is the ghost of Lady Dorothy Walpole (1686–1726), the sister of Robert Walpole, generally regarded as the first Prime Minister of Great Britain. She was the second wife of Charles Townshend, who was notorious for his violent temper. The story says that when Townshend discovered that his wife had committed adultery with Lord Wharton he punished her by locking her in her rooms in the family home, Raynham Hall. According to Mary Wortley Montagu, Dorothy was in fact entrapped by the Countess of Wharton. She invited Dorothy over to stay for a few days knowing that her husband would never allow her to leave it, not even to see her children. She remained at Raynham Hall until her death in 1726 from smallpox.

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Philip Newcombe - Beach ball filled with air from the lungs of a dying man

The central work Newcombe brings along to El Hotel Eléctrico is a time-based project: Beach ball filled with air from the lungs of a dying man (2010). The title is as riveting as it is self-explanatory. Is the air in the ball that of the artist himself? And while the aspect of the colourful beach ball evokes visions of kids innocently playing at the seaside play, the title divests it from anything idyllic. The creation of an animation film or a moving artwork is often described as "blowing life into dead matter." Here Newcombe applies the metaphor quite literally, with paradoxical effect. Without sacrificing playfulness, the ball becomes a performative and narrative element in the mind of the beholder. The mortality of mankind is then, in a way, shared with that of the ball. The inflated ball is destined to dwell only temporarily in the space, before eventually and inevitably deflating, dying if you will. In short, a simple accessory of childhood here becomes transformed into a metaphysical object.

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Wood drawings and wedges #1 

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Ben Highmore - Everyday Life and Culture

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The collection of post cards for the first day of the project

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The collection of post cards for the first day of the project

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The collection of post cards for the first day of the project

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The collection of post cards for the first day of the project

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An experiment of Photoshop

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An experiment of Photoshop

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Combining all the experiments

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Jenny Holzer - Truisms

Holzer wrote the statements used in the poster and electronic display works that make up the ‘Truisms' series in the years 1977-9. In all there are nearly three hundred of these aphorisms. They have never all been included in any one work and some exist in different versions.

a little knowledge can go a long way

a lot of professionals are crackpots

a man can't know what it is to be a mother

a name means a lot just by itself

a positive attitude means all the difference in the world

a relaxed man is not necessarily a better man

a sense of timing is the mark of genius

a sincere effort is all you can ask

a single event can have infinitely many interpretations

a solid home base builds a sense of self

a strong sense of duty imprisons you

absolute submission can be a form of freedom

abstraction is a type of decadence

abuse of power comes as no surprise

action causes more trouble than thought

alienation produces eccentrics or revolutionaries

all things are delicately interconnected

ambition is just as dangerous as complacency

ambivalence can ruin your life

an elite is inevitable

anger or hate can be a useful motivating force

animalism is perfectly healthy

any surplus is immoral

anything is a legitimate area of investigation

artificial desires are despoiling the earth

at times inactivity is preferable to mindless functioning

at times your unconsciousness is truer than your conscious mind

automation is deadly

awful punishment awaits really bad people

bad intentions can yield good results

being alone with yourself is increasingly unpopular

being happy is more important than anything else

being judgmental is a sign of life

being sure of yourself means you're a fool

believing in rebirth is the same as admitting defeat

boredom makes you do crazy things

calm is more conductive to creativity than is anxiety

categorizing fear is calming

change is valuable when the oppressed become tyrants

chasing the new is dangerous to society

children are the most cruel of all

children are the hope of the future

class action is a nice idea with no substance

class structure is as artificial as plastic

confusing yourself is a way to stay honest

crime against property is relatively unimportant

decadence can be an end in itself

decency is a relative thing

dependence can be a meal ticket

description is more important than metaphor

deviants are sacrificed to increase group solidarity

disgust is the appropriate response to most situations

disorganization is a kind of anesthesia

don't place to much trust in experts

drama often obscures the real issues

dreaming while awake is a frightening contradiction

dying and coming back gives you considerable perspective

dying should be as easy as falling off a log

eating too much is criminal

elaboration is a form of pollution

emotional responses ar as valuable as intellectual responses

enjoy yourself because you can't change anything anyway

ensure that your life stays in flux

even your family can betray you

every achievement requires a sacrifice

everyone's work is equally important

everything that's interesting is new

exceptional people deserve special concessions

expiring for love is beautiful but stupid

expressing anger is necessary

extreme behavior has its basis in pathological psychology

extreme self-consciousness leads to perversion

faithfulness is a social not a biological law

fake or real indifference is a powerful personal weapon

fathers often use too much force

fear is the greatest incapacitator

freedom is a luxury not a necessity

giving free rein to your emotions is an honest way to live

go all out in romance and let the chips fall where they may

going with the flow is soothing but risky

good deeds eventually are rewarded

government is a burden on the people

grass roots agitation is the only hope

guilt and self-laceration are indulgences

habitual contempt doesn't reflect a finer sensibility

hiding your emotions is despicable

holding back protects your vital energies

humanism is obsolete

humor is a release

ideals are replaced by conventional goals at a certain age

if you aren't political your personal life should be exemplary

if you can't leave your mark give up

if you have many desires your life will be interesting

if you live simply there is nothing to worry about

ignoring enemies is the best way to fight

illness is a state of mind

imposing order is man's vocation for chaos is hell

in some instances it's better to die than to continue

inheritance must be abolished

it can be helpful to keep going no matter what

it is heroic to try to stop time

it is man's fate to outsmart himself

it is a gift to the world not to have babies

it's better to be a good person than a famous person

it's better to be lonely than to be with inferior people

it's better to be naive than jaded

it's better to study the living fact than to analyze history

it's crucial to have an active fantasy life

it's good to give extra money to charity

it's important to stay clean on all levels

it's just an accident that your parents are your parents

it's not good to hold too many absolutes

it's not good to operate on credit

it's vital to live in harmony with nature

just believing something can make it happen

keep something in reserve for emergencies

killing is unavoidable but nothing to be proud of

knowing yourself lets you understand others

knowledge should be advanced at all costs

labor is a life-destroying activity

lack of charisma can be fatal

leisure time is a gigantic smoke screen

listen when your body talks

looking back is the first sign of aging and decay

loving animals is a substitute activity

low expectations are good protection

manual labor can be refreshing and wholesome

men are not monogamous by nature

moderation kills the spirit

money creates taste

monomania is a prerequisite of success

morals are for little people

most people are not fit to rule themselves

mostly you should mind your own business

mothers shouldn't make too many sacrifices

much was decided before you were born

murder has its sexual side

myth can make reality more intelligible

noise can be hostile

nothing upsets the balance of good and evil

occasionally principles are more valuable than people

offer very little information about yourself

often you should act like you are sexless

old friends are better left in the past

opacity is an irresistible challenge

pain can be a very positive thing

people are boring unless they are extremists

people are nuts if they think they are important

people are responsible for what they do unless they are insane

people who don't work with their hands are parasites

people who go crazy are too sensitive

people won't behave if they have nothing to lose

physical culture is second best

planning for the future is escapism

playing it safe can cause a lot of damage in the long run

politics is used for personal gain

potential counts for nothing until it's realized

private property created crime

pursuing pleasure for the sake of pleasure will ruin you

push yourself to the limit as often as possible

raise boys and girls the same way

random mating is good for debunking sex myths

rechanneling destructive impulses is a sign of maturity

recluses always get weak

redistributing wealth is imperative

relativity is no boon to mankind

religion causes as many problems as it solves

remember you always have freedom of choice

repetition is the best way to learn

resolutions serve to ease our conscience

revolution begins with changes in the individual

romantic love was invented to manipulate women

routine is a link with the past

routine small excesses are worse than then the occasional debauch

sacrificing yourself for a bad cause is not a moral act

salvation can't be bought and sold

self-awareness can be crippling

self-contempt can do more harm than good

selfishness is the most basic motivation

selflessness is the highest achievement

separatism is the way to a new beginning

sex differences are here to stay

sin is a means of social control

slipping into madness is good for the sake of comparison

sloppy thinking gets worse over time

solitude is enriching

sometimes science advances faster than it should

sometimes things seem to happen of their own accord

spending too much time on self-improvement is antisocial

starvation is nature's way

stasis is a dream state

sterilization is a weapon of the rulers

strong emotional attachment stems from basic insecurity

stupid people shouldn't breed

survival of the fittest applies to men and animals

symbols are more meaningful than things themselves

taking a strong stand publicizes the opposite position

talking is used to hide one's inability to act

teasing people sexually can have ugly consequences

technology will make or break us

the cruelest disappointment is when you let yourself down

the desire to reproduce is a death wish

the family is living on borrowed time

the idea of revolution is an adolescent fantasy

the idea of transcendence is used to obscure oppression

the idiosyncratic has lost its authority

the most profound things are inexpressible

the mundane is to be cherished

the new is nothing but a restatement of the old

the only way to be pure is to stay by yourself

the sum of your actions determines what you are

the unattainable is invariable attractive

the world operates according to discoverable laws

there are too few immutable truths today

there's nothing except what you sense

there's nothing redeeming in toil

thinking too much can only cause problems

threatening someone sexually is a horrible act

timidity is laughable

to disagree presupposes moral integrity

to volunteer is reactionary

torture is barbaric

trading a life for a life is fair enough

true freedom is frightful

unique things must be the most valuable

unquestioning love demonstrates largesse of spirit

using force to stop force is absurd

violence is permissible even desirable occasionally

war is a purification rite

we must make sacrifices to maintain our quality of life

when something terrible happens people wake up

wishing things away is not effective

with perseverance you can discover any truth

words tend to be inadequate

worrying can help you prepare

you are a victim of the rules you live by

you are guileless in your dreams

you are responsible for constituting the meaning of things

you are the past present and future

you can live on through your descendants

you can't expect people to be something they're not

you can't fool others if you're fooling yourself

you don't know what's what until you support yourself

you have to hurt others to be extraordinary

you must be intimate with a token few

you must disagree with authority figures

you must have one grand passion

you must know where you stop and the world begins

you can understand someone of your sex only

you owe the world not the other way around

you should study as much as possible

your actions ae pointless if no one notices

your oldest fears are the worst ones

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Ceal Floyer - Helix

She begins with a plastic template which has a series of different sized holes cut through it. It is, quite simply, a tool for drawing circles. It's the sort of thing I had at school. I think 'Helix' is actually the name of the company that produce it, because I'm sure I've seen the word 'Helix', in that self same logo, on a ruler. I could be wrong. But no matter. Ceal calls the piece 'Helix' and that's good enough for me. And Ceal has filled every one of the circles cut into this piece of stationery with some object. Whatever fits that exact circle is used. A toothpaste tube, a Pritt stick, two different sorts of batteries, a candle, a roll of tape, a tablet...there must be about 30 different sized circles and objects.And all of the objects have a patina of autobiography. But Ceal doesn't give much away. It's tantalizing because of its lack of real personal detail. But it's also comforting in its use of such recognisable and familiar objects. There are a couple of things that I can't name, but it occurs to me that they are those odd, orphaned pieces of detritus that love to hide at the bottom of drawers or shoeboxes, receptacles of the uncertain bits and pieces in life which we fail to throw away. It's just such a beautiful and quietly brutal way to present a picture of a life. Whether she thinks of it in these terms I don't know, but certainly very few, if any, of her other works include anything like as much of a sniff of her life's detail. It is so rigorous and unflinching a piece. I stand and look at it for ages.

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Agents of Change 

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Ben Highmore - The Everyday Life Reader

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The collection of post cards for the first day of the project

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The collection of post cards for the first day of the project

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The collection of post cards for the first day of the project

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The outcome of the first day

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An experiment of Photoshop

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An experiment of Photoshop

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After the last experiment, I came up with this idea as red and blue made the picture black(invisible).

What if our bodies absorb the sunshine all the time like plants or flowers?
The sunshine becomes its energy and stay in it.

And the city looks blue because of the moon. Blue covers the city.

So at night your room is full of blue but your body still has the sunshine's energy.
This contrast is something in between dream and reality.

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The Outcome

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