:like being in a dream

OK, it’s been more then a year dear friends. I know I have a lot of followers here, and I really respect all of u but somehow this year was not conceptual at all for me. Well, in a way it was, but in real life, that’s why I was gone from this little and very important space for me.

.we’ve seen so many good things this year so it’s basically pretty hard to mention what was good and what was not. I’m very, very happy that in my stream I recognize a lot of d things/ art pieces that I already have here and maybe that was d spot that demotivate me to share other (new) things. any way is good to know that u have good eyes and good sense for art in general, that shows to me personally that it’s maybe time to return myself here and at least once in month to share d art that I appreciate.

:my year was like “curiosity cloud” I tried so many new things, start working on so many other interactive projects and that’s why today I’ll share with u this beautiful, amazing project that is named like these and is full of magic.

:this Viennese design duo Mischer’Traxler explain why they filled a room at London’s V&A Museum with hundreds of fluttering insects. Katharina Mischer and Thomas Traxler’s installation for Perrier-Jouët consists 264 suspended blown-glass bulbs, each of which contains a hand-made model of an insect.

.d installation contains 25 different varieties of insect, including a mixture of common, endangered and newly-discovered species. each insect is attached to a motor at d top of d bulbs with a thin wire. thermal imaging sensors around d installation trigger d motors when they detect visitors’ presence. d buzzing noises can be heard outside the space, enticing visitors inside the gilded room.

– intelligent and pretty modern and constructive way to connect d idea of nature and electricity (industrialization), to make relation between something small and colorful, that will give some warmth and d noise that they produce like u’re somewhere outdoor and listen d inner life of d planet.

.great concept, way to go in this 21 century confusing, open minded, not defined and wide diapason of art “attack” and showing something “different”. this is peaceful but in same time so noisy, like we are in our minds. do u like it?

:u can leave ur comments below or on :d white b[l]og ::: #facebook page

!ladies & gentleman, madame Marina Abramovic ~

.

.

.

!for sure I’ll write about this project. U know Marina Abramovic? Do u know what is she doin’? – she is changing d modern history of art like no one before. Every new project is something deeper then d thing before, but they are all somehow connected.

Yes, I already start with my impressions that I get from her works, and I really hope in future to be in her surrounding [somehow] 😉
..so happy that finally my white blog will have story about/ with her. .. and it’s smthing totally new from her, fresh as fish we say here..

I will not speak from my name as regular before about d works, I think only that this is d best performance I saw till now and for sure d best for 2011. she engaged, animate so many people, and d message is clear as always.. don’t worry nobody was crying with her in MoMA this time, this time it was even more bizarre, they all eat human body. .. just kidding 😀

.

.

!it is pretty good dinner though, I was part of similar performance actually theater show from d script Father by August Strindberg and d visitors were on same dinner table as d actors and there was action in d middle .. btw it was theater, this here is without words, she is speaking even more then d father with this skeleton on d top of her and under she naked. Music, small “reading flash-mob”, food all at all amazing gala performance. Was it to much theatrical this time, yes it was, I don’t know why so interaction and why so many famous people, probably because of d publicity (hmm.. Marina this is goin in ‘monster’ direction) but still from other side she as personality have something in her that is giving eternal vibration to all of her works.

.

.

There were surprised faces, shocked, lost. .. and some who enjoy this weirdly way of showing d evolution of contemporary art and braking d barriers between everything known till now. Conceptual, it was like thousands before, have no idea why some other performance also interactive, engaging haven’t been highlighted till now in d media and promoted as this one but probably she order this place for her. Order from God absolutely. Was there some deeper concept?

.

AN ARTIST'S LIFE MANIFESTO

.

– ‘art is oxygen of our society’ as she says in d beginning….

..

I found about this project via artinfo, happy that I follow them over 2 years already on twitter and this is first time to use their content, but Marina is a world citizen and their words about her works spectacular, so in d next lines u read selected parts from their article or d whole article, it’s up to u!  [sorry & 1ox in same time] 😉

.

Marina Abramovic‘s L.A. MOCA gala, and the outrage inspired by it, was certainly one of the biggest stories of 2011 in art. If you will recall, back in November, legendary avant-garde dancer Yvonne Rainer denounced the spectacle — which was titled “An Artist’s Life Manifesto,” and involved diners eating around nude female models draped with skeletons and other models serving as human centerpieces —  in an open letter. Sarah Wookey, a dancer who refused to participate, penned her own open letter explaining why she had opted out: because she saw the event as economic exploitation of hopeful young dancers, who were compensated only minimally for their participation.

.

.

At the end of December, L.A. MOCA released a slickly produced black-and-white video about the gala, which, in addition to making the whole thing look strangely like a luxury perfume commercial, will probably do nothing to disperse this controversy. It begins with shots of the rich and famous attendees (Eli Broad, Will Ferrell, Gwen Stefani) on the red carpet, grinning for the paparazzi, as Abramovic’s voice intones that art is the “oxygen of our society.” Then we see guests putting on their white lab coats to eat around the freaky human party decorations, an ominous score giving the decadent imagery an unmistakable “Eyes Wide Shut” vibe. The film ends with Deborah Harry performing “Heart of Glass,” before she and Abramovic cut into a woman-shaped cake. (It leaves out the part where members of the audience chanted “Violence against women!” upon witnessing this spectacle.)

But really, it is Abramovic’s narration, in which she explains her thinking behind “An Artist’s Life Manifesto,” that might throw fresh fuel on the fire. She distances herself from the government art patronage of her native Europe, indicating that she prefers the American way, where “industry” supports art. She points out that the Renaissance was made possible by “Popes, aristocrats, or kings” (um, Marina: patronage by “Popes, aristocrats, or kings” is also government patronage), and then she says that she thinks an artist should be a “servant.” But not just any kind of servant, she goes on to say, but one that who pursues a pure vision who stands above all economic considerations (like paying the participants in your performance?) 

.

.

So, to sum up: people were mad at Abramovic for economically exploiting her performers, and she’s talking about how much she appreciates the wisdom of the free market and/or the virtues of the pre-modern system of rule by kings. At the very least, you would say that this is pretty tone deaf, given the controversy. We’ve taken the liberty of transcribing her whole narration (preserving her charmingly idiosyncratic English, for the most part):

I see the art as oxygen of our society. I come from Europe and we have a completely different system of sponsoring art. Governments give money for culture. The system here is completely different. Which is quite interesting, to look in the past and think about who actually sponsored the culture. If you look in Renaissance time, any of these great artists — it was Popes, aristocrats, or kings who actually support these kinds of artists and make it possible to support these monumental works.

Today, we don’t have kings but we have industry, we have business, we have banks. The kind of people who actually have a substantial amount of money, who can support culture. I see the function of an artist as a servant. I think that art have to be shared, art have to be disturbing, art have to ask questions, art have to predict the future, in some cases, and have many layers of meaning.

When I was asking to do this kind of gala, I was really concerned with what should be my contribution, that I actually don’t make any compromise to my work and do something which is different. I don’t think that I should only provide entertainment. I have to create situation where we are actually not at ease and you come with an experience that you didn’t have before.

I think that today we have so much concern about art as a commodity, with art market, with the times we are living in. I think that the context of the artist is very important to clarify, so I had the need to write this manifesto.

[Referring to Debby Harry] Both of us are performance artists, and we both work with the public. It a way, offering the body for the public, that is the ultimate gesture. [Apparently referring the audience] They are not just looking into the spectacle, they are part of the spectacle, and that’s a big difference.

.

.

?are u happy that finally there is work from Abramovic on my blog, me I’m positively surprised that she done this project and I had d opportunity to mention her here. I have post about her earlier works on other blogs, tumblr etc. .. maybe I’ll transfer them here, but maybe will write some new one. u like this interactive performance, which part is most attractive for u. ..u respect Marina Abrmovic. ..u can leave ur comments below or on :d white b[l]og ::: #facebook page