TEXT FOR MOP DRAFT- Lionel

TEXT FOR MOP DRAFT

 

i realise we should not call show firstdraft presents as it is not firstdraft now it is us 2010 and it is innappropriate

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OPEN/ Rize/ raiser/ razor…?????

The Directors of Firstdraft 2010 create a group installation for their invited A.R.I. project at MOP. The group decided to avoid focus on individual practice and work outside our conventional parameters, focusing on collaboration & research. The work is a playful musing upon an endless series of openings and closings, and the idea of action taking place behind the scenes. We are interested in making a work, which represents the dual creative aspects of process and outcome/object in the form of a visual spectacle.

The 2010 Firstdraft Directors are Connie Anthes , Grace Archibald, Lionel Bawden, Georgie Meagher, Debbie Pryor, Kate Scardifield, Jessica Tyrrell & Dylan Quirk.

 

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Minutes meeting 2/1/11

Present: dp, ga, lb, ca, ks, gm Absent: dq, j

Some table conversation about Black Swan.

Job departments:

– research for (red) curtain (georgie has an ‘in’)

– research for machine (probably powered electrically – connie has an ‘in’)

– research for donkey (separate)

– funding NAVA marketing grant for catalogue (Feb 15)

– funding for animal wrangler etc Arts NSW quick response (March 1)

How do we want to work together rather than work independently, enforcing restrictions – all quite happy to meet regularly to do a session to all complete tasks together.  Monday nights is a weekly night, not all have to attend every week – meet in Albert Park – every meeting has to include a fun activity to be documented.

Everyone to upload stuff onto the blog and check lots.

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Tommy Lauren

Sitting in a waiting room, I thought of us.

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The name game

So I’ve been dreaming about this stuff, including what we might begin to think about calling this little show. Let’s make a list, and get all the terrible puns out of our system.

Here, I’ll start:
D is for…
D is for Spectacle
The 5 Obstructions
We can move mountains
The Spectacle
3 kinds of fun
Eight plus one
Pulling fun
8 people make 1 art
Going to work
The art of Logistics
Curtain call
Push/pull

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I’m not sure if we have discussed the associations between donkeys & kitsch. Donkey’s feature in a lot of kitsch 50’s & 60’s Americana type “artworks” collectables etc. Our use of a donkey engages in the tension between high and low art – A possible avenue for our aesthetic interpretation to play on this “tension” further. 

Explaination of Kitsch according to the TATE Modern

Kitsch is the German word for trash. Sometime in the 1920s it came into use in English to describe particularly cheap, vulgar and sentimental forms of popular and commercial culture. In 1939, the American art critic Clement Greenberg published a famous essay titled ‘Avant-Garde and Kitsch’. In it he defined kitsch and examined its relationship to the high art tradition as continued in the twentieth century by the avant-garde: ‘Where there is an avant-garde, generally we also find a rear-guard. True enough ¿ simultaneously with the entrance of the avant-garde, a second new cultural phenomenon appeared in the industrial West: that thing to which the Germans give the wonderful name of Kitsch: popular, commercial art and literature with their chromeotypes, magazine covers, illustrations, ads, slick and pulp fiction, comics, Tin Pan Alley music, tap dancing, Hollywood movies, etc, etc.’ Some more up-to-date examples of kitsch might include plastic or porcelain models of the late Diana, Princess of Wales, Japanese manga comics and the Hello Kitty range of merchandise, many computer games, the whole of Las Vegas and Disneyland, and the high-gloss soft porn of Playboy magazine. Greenberg saw kitsch as the opposite of high art but from about 1950 artists started to take a serious interest in popular culture, resulting in the explosion of Pop art in the 1960s. This engagement with kitsch has continued to surface in movements such as Neo-Geo and in the work of artists such as John Currin or Paul McCarthy.

GA

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Ethics

Maurizio Cattelan’s Novecento, 1997.

Maurizio Cattelan’s Untitled 2002

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Curtain logistics: a few thoughts…

A few things to start considering:

http://www.theatricalsupplies.com.au/curtains.html

–       Design, feeding system (up/down or centre/out?), weight and drape of cloth?

–       Cost of velvet/ fabric of choice. Need to think about sourcing funding.

To make a curtain?  or to hire a curtain?

http://www.theatrequip.com.au/maintabs.htm

–       Velvet lined with linen/cotton for ease of movement and added weight.

If we decide to make a curtain….

http://www.emgreenfield.com/Minfo.asp?strID=11783&strcat=1&offset=&subCID=,18,&subc=Velvet%20and%20Suede&category=Fabric

–       E&M Greenfield (wholesale fabric)

–       Anywhere between $10- $45 p/m (for cheaper/fake velvet. Real velvet is $$$)

–       Width of fabric (usually about 150cm) – possibly need to order furnishings bolt (300cm wide)

–       Gallery long wall 6.5m (so we are looking at no less than 21m of fabric to make a  proscenium curtain).

· We would need to work with (or at least consult with) a professional stage curtain designer. It would be possible to do a simple proscenium curtain (including cotton inlay along running track), but if we want something with a little more aesthetically interesting and textual, possibly a contour curtain?

It looks complicated with the scalloped drapery at the top, but the only movement would involve the pleated curtain fabric  hanging below either going side to side / up and down.

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