“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.
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.
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.
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.
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".
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.
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.
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.
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).
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.
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.
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.
Georges Perec - Species of Spaces
A book I read
Sigmund Freud - The Interpretation of Dreams
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.
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
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.
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.
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.
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."
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."
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.
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.
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.
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.
Wood drawings and wedges #1
Ben Highmore - Everyday Life and Culture
Combining all the experiments
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
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.
Agents of Change
Ben Highmore - The Everyday Life Reader
The outcome of the first day
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.