210329_05_Fahne_Richard_Wathen_extractpdf
210329_05_Fahne_Richard_Wathen_extractpdf
Page 1 of 150
Alfredo Cramerotti shared this file. Want to do more with it?
  1. RICHARD WATHENNew Eyes Every Time
  2. 23
  3. RICHARD WATHENNew Eyes Every Time
  4. On Transience /Am FyrhoedleddAlfredo Cramerotti6-9Before the After /Cynt a ChwedynJuan Bolivar 30 - 41Exquisite Weirdness /Odrwydd CywrainRebecca Geldard 50 - 57List of Works /RhestroWeithiau 81Exhibitions / Arddangosfeydd 82 - 83Author Biographies /BywgrafadauAwdur 84-85Acknowledgement /Cydnabyddiaeth 87Colophon /Colofon 88
  5. 67In the last few years I have become increasingly keen to delve into images that aren’t anchoredbytheircontentordefnedbytheirstatedaim,butratherarecharacterisedbytheirtransience, their ‘performance’ so to speak. I am referring here to that morphing from one state into another, that continuous shapeshifting of images that circulate and never stand still, which is typical of the digital era. But the intriguing fact is that this is a phenomenon I observe, not only withonlineculturebutwithmaterialartefactstoo:graftithatturnsupinauctionsasartworks;billboardadvertisementsrepurposedaspoliticalcampaigns;healthnoticesthatrunintomassparticipatorymovements;theLGBTQI+rainbowfagappearingoneverywindowasNHSunofciallogosketchedbychildren.Iamfascinatedbyanimage’sjourneyfromonephysical‘system’ to the next. AsHu 1pointsout(2015:p.143),theactofmakingimages,whetherbyhumaninterventionor automated by machines, is a form of reconciliation not between the world out there and its representation, but between the world of information and that of the mind. That informa-tion-outputandmind-inputisneverstable,alwaysnegotiableandfarfromanydefnedrulesofinterpretation or mediation. This ‘performativity’ of the image (i.e. the potential for a performance ofavisualitem)implies,Iargue,apullbetweenthissuspendedstatusoftheimage,whichwefast-trackthroughouractions,andtheattempttocontextualiseandmakesenseofthere-sultinadefnitiveway.Wefacedailyasituationwherewecannotdeterminewhatanimagebrings with it, how it will be used, for what purpose, and under what conditions. Neither do we haveaprecisereferencepointforthecircumstancesthatgeneratedthatimage(human-ormachine-made),letaloneanyintentionsbehindit.Nevertheless, we think we can pin down a meaning attached to a visual or, at least, we havecertainexpectationsintermsoftheclarityofitsinterpretation.However,weare,infact,as-signingavalue(fgurativeorintrinsic)tosomethingthatcompletelyeschewsthevaluesystem.This creates a tension between the state of suspension of an image and its place in history, or in one’slife.IspeculatethatitisforthisveryreasonthatIfndmyselfattractedtothoseimagesthatembrace the transience of their being, rather than demanding of me a precise understanding.Iimaginemyselfenvelopedinavisuallife,andanimage-drivenworld,wherethepointisnotthefnaloutput.Ratheritistheversion,thehalfwayjourney,theexcursionthatisthemainthing.Theredefnitionofthemeaningofanimageissomethingthathashappenedorganicallythroughout the history of human culture. I am talking about more than that, the ability to assign aspecifc,‘permanentlyvariable’agencytothatimageinsteadoftoitsauthorormediator.Andmy contention is that that agency will design a reality to come. Whether this will be pivotal to ourage,thefactorcharacterisingour(visual)lives,timewilltell,butIamalreadypreparingforit.Alfredo Cramerotti1Hu,Tung-Hui,A Prehistory of the Cloud.Cambridge,MAandLondon:MITPress,2015,p.143.On Transience
  6. 89Yn ystod y blynyddoedd diwethaf, rwyf wedi dod yn fwyfwy awyddus i ymchwilio i ddelweddausyddhebeuhangoriganeucynnwysneueudifnioganeubwriadgwreiddiol,ondynhytrachsy’ncaeleunodwedduganeubyrhoedledd,eu‘performiad’felpetai.Rwy’ncyfeirioatymorfohwnnwouncyfwri’rllall,ynewidsiapiauparhausoddelweddausy’ncylchredegabythynsefyllyneuhunfan,sy’nnodweddiadolo’roesddigidol.Ondyfaithddiddorolywbodhonynfenomenrwy’nsylwiarni,nidynuniggydadiwylliantar-leinondgydagartefactaumaterolhefyd:graftisy’ncyrraeddarwerthiannaufelgweithiaucelf;hysbysebionarhysbysfyrddausyddwedi’uhail-greufelymgyrchoeddgwleidyddol;hysbysiadauiechydsy’narwainatsymudiadaucyfranogiadtorfol;banerenfysLGBTQI+sy’nymddangosarbobfenestfellogoanswyddogolyGIGwedi’ucreuganblant.Maegeniddiddordebynsiwrnai’rddelweddoun‘system’fsegoli’rnesaf.FelydywedoddHu 1(2015:t.143),mae’rweithredogreudelweddau,boeddrwyymyrraethddynol neu wedi’u hawtomeiddio gan beiriannau, yn gymod o ryw fath, nid rhwng y byd a’i gynrychiolaeth, ond rhwng y byd gwybodaeth a byd y meddwl. Nid yw’r allbwn gwybodaeth a’r mewnbwn meddwl byth yn sefydlog, wastad yn destun trafod ac yn bell o unrhyw reolau dehonglineugyfryngupendant.Mae’r‘performiad’hwno’rddelwedd(h.y.ypotensialiberformioeitemweledol)ynawgrymu,rwy’ndadlau,ytynnurhwngstatwscrogyddelwedd,sy’ncyfymudrwyeingweithredoedd,a’rymgaisigyd-destunoliagwneudsynnwyro’rcanlyniadmewnAm Fyrhoedleddforddddifniol.Rydymynwynebusefyllfaddyddiolllenaallwnbenderfynubethddawgyda’rddelwedd, sut bydd yn cael ei defnyddio, at ba bwrpas, ac o dan ba amodau. Nid oes gennym chwaith bwynt cyfeirio manwl gywir ar gyfer yr amgylchiadau a greodd y ddelwedd honno (wedi’igwneudganboblneubeiriannau),hebsônamunrhywfwriadauytuôliddi.Beth bynnag, credwn y gallwn nodi’r ystyr sydd ynghlwm wrth y gweledol neu, o leiaf, maegennymddisgwyliadaupenodoloraneglurdereiddehongliad.Serchhynny,rydymmewngwirioneddynneilltuogwerth(fgurolneugynhenid)irywbethsy’nosgoi’rsystemwerthynllwyr.Maehynyncreutensiwnrhwngcyfwrcrogyddelwedda’illemewnhanes,neuymmywyd rhywun. Rwy’n dyfalu mai am yr union reswm hynny rwy’n cael fy nenu at y delweddau hynnysy’ncofeidiobyrhoedleddeubod,ynhytrachna’iddeallynunion.Rwy’n dychmygu fy hun wedi fy amgylchynu mewn bywyd gweledol, a byd sy’n cael ei lywio gan ddelwedd, lle nad yr allbwn terfynol yw’r pwynt. Yn hytrach, y fersiwn, y daith hannerfordd,ysiwrnaiyw’rprifbeth.Maeailddifnioystyrdelweddynrhywbethsyddwedidigwydd yn organig drwy gydol hanes diwylliant dynol. Rwy’n siarad am fwy na hynny, y gallu i aseinio cyfrwng penodol, ‘barhaol amrywiol’ i’r ddelwedd honno yn hytrach nag i’w hawdur neu gyfryngwr. Yr hyn rwy’n ei ddadlau yw y bydd y cyfrwng hwnnw’n cynllunio’r realiti sydd ar ygweill.P’unafyddhynynganologi’nhoesneubeidio,yfactorsy’nnodweddueinbywydau(gweledol),amseraddengys,ondrwy’nparatoiareigyferynbarod.Alfredo Cramerotti1Hu,Tung-Hui,A Prehistory of the Cloud.Cambridge,MAandLondon:MITPress,2015,p.143.
  7. 1011Figment, 2020
  8. 1415Sleeping after P.G, 2019
  9. 2021
  10. 2223Taraxacum, 2020
  11. 24I’m Only Sleeping, 202025
  12. 8485Author Biographies / Bywgrafadau AwdurAlfredo CramerottiA cultural entrepreneur working at the intersection of contemporary art and mass media culture, Alfredo CramerottiisDirectorofMOSTYN,WalesUKandAdvisertotheBritishCouncilVisualArtsAcquisitionCommitteeandtheArtInstitutionsofthe21stCenturyFoundation.HehascuratedradioandtelevisionformatsinGermanyand Denmark, three national pavilions at the Venice Biennale, EXPO Film & Video in Chicago, and the biennials Sequences VIIinReykjavik,IcelandandManifesta 8,RegionofMurcia,Spain.HeservesasVice-PresidentofAICA(InternationalAssociationArtCritics),PresidentCand.ofIKT(InternationalAssociationCuratorsContemporaryArt),Co-ChairofVAGW(VisualArtsGroupWales)andisamemberofCIMAM(InternationalCommitteeforMu-seumsandCollectionsofModernArt).HeholdsaPhDinCommunicationDesignandPhotographyandhashad over 200 texts published on art, media and curatorial practice, contributing to a large number of books, cata-logues,monographsandonlinejournals.AlfredoisEditor-in-ChiefoftheCritical Photography book series (Intellect Books),andhisownpublicationsincludeCurating the Image: Notebook for a Visual Journey(2020);Forewords: Hyperimages and Hyperimaging(2018);Unmapping the City: Perspectives of Flatness (2010);andAesthetic Jour-nalism: How to Inform Without Informing(2009).Felentrepreneurdiwylliannolsy’ngweithioargroesforddcelfgyfoesa’rdiwylliantcyfryngautorfol,AlfredoCramerottiywCyfarwyddwrMOSTYN,Cymru,DUaChynghoryddPwyllgorCafaeliadauCelfWeledolyBritishCouncilaSefydliadauCelfSefydliadyr21ainGanrif.MaewedicuraduformatauradioatheleduynyrAlmaenaDenmarc,triphafliwncenedlaetholynyVeniceBiennale,EXPOFilm&VideoynChicago,a’rdigwyddiadauSequencesVIIynReykjavik,GwladyrIâaManifesta8,RhanbarthMurcia,Sbaen,bobynailfwyddyn.GwasanaethoddfelIs-LywyddAICA(CymdeithasRyngwladolyBeirniaidCelf),LlywyddIKT(CymdeithasRyngwladolCuraduronCelfGyfoes),Cyd-GadeiryddVAGW(VisualArtsGroupWales)acaelodoCIMAM(YPwyllgorRhyngwladolargyferAmgueddfeyddaChasgliadauCelfFodern).MaeganddoPhDmewnDylunioCyfathrebuaFfotografaethac mae wedi cyhoeddi dros 200 o destunau ar gelf, y cyfryngau ac ymarfer curadurol, gan gyfrannu at nifer fawr o lyfrau,catalogau,monografauachyfnodolionar-lein.Alfredoyw PrifOlygyddygyfresolyfrauCriticalPhotography (IntellectBooks),acmaeeigyhoeddiadaueihunyncynnwysCurating the Image: Notebook for a Visual Journey(2020);Forewords: Hyperimages and Hyperimaging(2018);Unmapping the City: Perspectives of Flatness (2010);ac Aesthetic Journalism: How to Inform Without Informing (2009).Juan Bolivar JuanBolivarisaBritishartist,curator,andlecturerinpaintingatCamberwellCollegeofArts.HelivesandworksinLondon.BorninCaracas,Venezuela,BolivargraduatedfromGoldsmithsCollegein2003.Hispaintingsnegotiatethetensionbetweenmeaningandform.Hecombineselementsfromdisparatesourcestoinvestigatehybridity,languageandabstraction.Bolivar'sworkoftenre-enactsseminalcanonsofmodernistpaintingsuchasKazimirMalevich's'BlackSquare',usingthiscontextfor(mis)interpretationtocreatenewmeaningsfromthesub-limetotheridiculous.HisworkisincludedinTheGovernmentArtCollection,andselectedforsignifcantexhibitionssuch as New British PaintingatJohnHansardGallery,UniversityofSouthampton(2004)andEast International at NorwichSchoolofArt(2007).HisworkwasincludedinNanjingMuseum'sfrstinternationalexhibitionofcontem-poraryartwherehewasaprizewinner(2015)andhehastwicebeenarecipientofaPollock-Krasneraward(2001and2009)Asanindependentcurator,hehasworkedonover50exhibitionswithafocusoninclusivity,multidisci-plinary practice and polysemic cultural dialogues.Mae Juan Bolivar yn artist Prydeinig ac yn guradur a darlithydd paentio yng Ngholeg Celf Camberwell. Mae’nbywacyngweithioynLlundain.CafoddBolivareieniynCaracas,Venezuela,agraddioddoGolegGoldsmithsyn2003.Maeeibaentiadauyntrafodytensiwnrhwngystyrafurf.Mae’ncyfunoelfennauofynonellaugwahanoliarchwiliocroesrywedd,iaithahaniaeth.Ynaml,maegwaithBolivarynail-greucanonauarloesolpeintiomodernaiddfel'BlackSquare'ganKazimirMalevich,ganddefnyddio’rcyd-destunhwni(gam)ddehongli i greu ystyron newydd – o’r gwych i’r gwachul. Mae ei waith wedi’i gynnwys yng Nghasgliad Celf y Llywodraeth, a chafodd ei ddewis ar gyfer arddangosfeydd arwyddocaol fel y New British Painting yn Oriel John HansardGallery,PrifysgolSouthampton(2004)a’rEast InternationalynYsgolGelfNorwich(2007).CafoddeiwaitheigynnwysynarddangosfacelfgyfoesryngwladolgyntafAmgueddfaNanjing,lleenilloddwobr(2015)aderbyniodd wobr Pollock-Krasnerddwywaith(2001a2009).Felcuradurannibynnol,maewedigweithioardros50o arddangosfeydd gyda phwyslais ar gynwysoldeb, ymarfer amlddisgyblaethol a deialogau diwylliannol polysemig.Rebecca GeldardRebeccaGeldardisawriter,editorandcuratorbasedinPowys,Wales.Herwritinghasappearedregularlyin a variety of publications, including Art Review, Guardian online, MAP, Modern Painters and Time Out. A member ofAICA,Geldard’sessaysin2020include‘Figuringitout:thehumanconcernsofChantalJofe,Sara-VideEricssonandAnnaBjerger’fortheDanishartfairChart’spublication‘De-Centred’;‘CeramicPainting’,ontheworkofClareGoodwinforherrecentexhibitionatLullin+FerrariGallery,Zurich;andobservationsontwoworksbyVittorioSan-toroareduetoappearinaforthcomingmid-careermonographontheSwiss/Italianartistin2021.InOctober,shecuratedthegroupshow‘RealTime’,atColemanProjectSpaceinLondon,featuringartistsNeilGall,MartinGayford,NickyHirst,LeeMaelzer,MaxMasonandZoeMendelson.Sheisthecreatorandeditorofappleandhat.com,anartsand humanities portal.Mae Rebecca Geldard yn awdur, golygydd a churadur sy’n byw ym Mhowys yng Nghymru. Mae ei gwaith ysgrifennu wedi ymddangos yn rheolaidd mewn amrywiaeth o gyhoeddiadau, gan gynnwys yr Art Review, Guardian online, MAP, Modern Painters a Time Out. Yn aelod o’r AICA, mae traethodau Geldard yn ystod 2020 yncynnwys‘Figuringitout:thehumanconcernsofChantalJofe,Sara-VideEricssonandAnnaBjerger’argyfer‘De-Centred’cyhoeddiadyfairgelfoDdenmarc,Chart;‘CeramicPainting’,arwaithClareGoodwinargyfereiharddangosfaddiweddarynOrielLullin+Ferrari,Zurich;acmaeeisylwadauarddauddarnowaithganVittorioSantoroarfnymddangosmewnmonografcanol-gyrfayrartisto’rEidal/Swistirynystod2021.YmmisHydref,fewnaethguraduysioegrŵp‘RealTime’ynyColemanProjectSpaceynLlundain,gyda’rartistiaidNeilGall,MartinGayford,NickyHirst,LeeMaelzer,MaxMasonaZoeMendelson.Hiywsylfaenyddagolygyddappleandhat.com,porth y celfyddydau a'r dyniaethau.
We use cookies to provide, improve, protect and promote our services. Visit our Privacy Policy and Privacy Policy FAQs to learn more. You can manage your personal preferences, including your ‘Do not sell or share my personal data to third parties’ setting using the “Customize cookies” button below.