13th April- Consent/Dissent//Research//NonConsensual Collaboration HM Government
13th April- Consent/Dissent//Research//
NonConsensual Collaboration HM Government
Today I have been reflecting on what an non consensual.non-consensual collaboration is and what it means to integrate this with government documents. What I have fund while doing research is that many artists exercise non-consensual collaborations with the public/other artists not institutions. This to me is interesting as I have been considering if the ethical implications are the same. Is following someone around a gallery the same as editing public government documents? This concept that a democracy in some way has a level consensus is interesting as there is vast displeasure and worry regarding the current political and social situation.
http://the8thfloor.org/consentdissent-a-talk-by-aliza-shvartz-and-emma-sulkowicz/
https://alizashvarts.com/ASIS/Nonconsensual_Collaborations_(2012-present).html
http://www.tate.org.uk/art/artists/vito-acconci-623
https://www.youtube.com/watch?v=j_dqT-XeIjA
Vito Acconci
Looking at his work here it is common to see he played with relationships readily and frequently. Between space, people and relationships. His series 'security zone' is of specific interest as it investigates concepts of boundaries and permission. This is done also through the investigation of personal relationships. My work below is far removed from the investigation of personal relationships and feels as though I am responding to a type of computer.
HM Non consensual collaborative work
Exhibition/experimentation 2018
This work is my own modern exploration of what it means to do a non-consensual collaboration. Mine however is with the British Government. These document are available online, therefore exist in a public domain. However, there are restrictions on who can re produce them. A list of official supplies is available if the document is desired for printing. This therefore renders my work non consensual and in part illegal. However, I believe that for a work to make active radical commentary it is unlikely to comply with the intended government protocol. This work was furthering work from my interim show. The work has been made more viewer friendly and the documentary that overlays the paper suggests that the artist has had a direct relationship with that paper. This collaborative work has continued my investigation into the relationship that people have with differing institutions, including the government. This relationship is often formed through language. The languages used therefore make up much of the work, my informal scribbles over the physical document prove to people that it is okay to question the hierarchy and institutions which tower over us.
NonConsensual Collaboration HM Government
http://the8thfloor.org/consentdissent-a-talk-by-aliza-shvartz-and-emma-sulkowicz/
https://alizashvarts.com/ASIS/Nonconsensual_Collaborations_(2012-present).html
http://www.tate.org.uk/art/artists/vito-acconci-623
https://www.youtube.com/watch?v=j_dqT-XeIjA
Vito Acconci
'Vito Acconci (January 24, 1940 – April 27, 2017) was an influential American performance, video and installation artist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His foundational performance and video art was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity, and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world. Acconci was initially interested in radical poetry, but by the late 1960s, he began creating Situationist-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were Following Piece (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and Seedbed (1972), in which he claimed that he masturbated while under a temporary floor at the Sonnabend Gallery, as visitors walked above and heard him speaking.'https://www.moma.org/artists/53
Looking at his work here it is common to see he played with relationships readily and frequently. Between space, people and relationships. His series 'security zone' is of specific interest as it investigates concepts of boundaries and permission. This is done also through the investigation of personal relationships. My work below is far removed from the investigation of personal relationships and feels as though I am responding to a type of computer.
HM Non consensual collaborative work
Exhibition/experimentation 2018
This work is my own modern exploration of what it means to do a non-consensual collaboration. Mine however is with the British Government. These document are available online, therefore exist in a public domain. However, there are restrictions on who can re produce them. A list of official supplies is available if the document is desired for printing. This therefore renders my work non consensual and in part illegal. However, I believe that for a work to make active radical commentary it is unlikely to comply with the intended government protocol. This work was furthering work from my interim show. The work has been made more viewer friendly and the documentary that overlays the paper suggests that the artist has had a direct relationship with that paper. This collaborative work has continued my investigation into the relationship that people have with differing institutions, including the government. This relationship is often formed through language. The languages used therefore make up much of the work, my informal scribbles over the physical document prove to people that it is okay to question the hierarchy and institutions which tower over us.
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