An immersive experience especially in the realms of installation and performative art is a situation that questions and attempts to deconstruct the binary opposition of audience versus work of art. An immersive experience is the attempt to create a format where the gallery, pedestal, curtain and stage are not only questioned but transformed maybe even destroyed. You could say an immersive experience is an effort to create a psychological space for all individuals who are participating. It is perhaps a turn back to essentials of the Dionysian space.
Because Art is often seen as a superfluous aspect of post-industrial society, the confidence of an artist is rather delicate, easily shattered. I guess my question is, what is the benefit of questioning such a rare occurring thing as the confidence of an artist? Why aren’t the efforts in critique used, instead, to understand why or what makes the artist confident? There are artists who just want to be artists and need questions to develop their work but there are also artists who have their work and need questions to understand it. I think I came to grad school to be able to understand more of the capacities and sensibilities that I already have as an artist. I also entered grad-school to connect myself to people who might really appreciate it and in turn help me pave my professional growth. I do not see the use of critique as means of changing the work or shattering the artist’s perspective of himself and his work as a constructive or productive act. Instead, I see it as more of a funnel that weaves out potentially significant advancements in the field in order to perhaps maintain the legitimacy and sovereignty of the institution.
On Atributes and Assossiations
On is an all encompassing concept that attempts to encapsulate or become an emblem of culture and the behavior patterns of humans. On is the force that governs when we learn a language or change behavior when we enter a courtroom. On is the act of self-subjectification. It is the word that symbolizes the method and characteristics of an induction, the inductee, and the institution.
On is the “natural” human urge to build cities, start businesses, schools, hospitals. On is the discipline and the disciple. On is the natural human desire to categorize. On is the human itch to build bricks either conceptual or concrete in order to build more and more. On is the urge to produce knowledge. On is knowledge and not wisdom. On is the tower but not the tree. On is the oil well but not the oil. On is the jack pump extracting oil that is piped or shipped or driven to the refinery and transformed into gasoline, plastic, gum, legos. On is the desire to build such mechanism and, of course, the mechanism itself and all of its byproducts.
On is the the book being read by the student in the classroom while the teacher rambles on with completely technical words only to be understood as a result of reading and regurgitating the words in the pages of the book. On is the reading, the person understanding itself as a student, the person understanding itself as the teacher, and also the dynamic created as a result of those people’s understanding of themselves.
On, in a reductive sense, is the Heideggerian calculative, the Nietzschean apollonian, and the Foucauldian subject in a quasi-panoptic construction. On is the monolith that feeds the passively ingesting masses, the masses that consume this aviary regurgitation and the environment that makes this transaction possible. On is ‘being-with-others’ and the prescriptive condition created thereof. On is what makes language hold its baggage, what charges it with partiality and infinite biases. On is the master operator of all stealthy mechanisms that legitimize specific kinds of actions, behaviors, attitudes, protocols, emotions, excuses over others.
On is what’s at stake in a translation, the risk of changing or losing information. On is what contextualizes an object and at the sametime deprives that object of a context. On is the comfort of the hometown and the dreadful alienation experienced in a foreign country. On was born in the cavernous womb, where humanity made its first marks.
Rooms Fall Apart: An Experiential Telling
What Weekly’s incredible review of a project I worked super hard on!
One of the most humbling projects yet. At least they speak!